measles :: essays research papers

Measles Virus      In the 1800’s the measles was a risky illness, and when individuals who interact with it will pass on, in the event that they have never been presented to the infection. The measles is transmitted through the air. How the infection is transmitted is that tainted beads are discharged by hacking, sniffling, and by talking. At the point when the tainted beads that contain the measles are noticeable all around, they are taken into the body through the mouth, nose and eyes of the potential individual that could get the infection. Individuals with low respiratory tract, which is the lungs and bronchi, are bound to get the contamination. During the following two to four days after the contamination infiltrates the body, the measles infection duplicates in the respiratory cells and afterward spreads to the depleting lymph hubs, where it imitates once more. At that point it moves into the circulation system, conveyed by the white platelets. This outcomes in the infection being conveyed everywhere throughout the body, which prompts tainting different spots inside the body. During this time, the tainted individual feels fine and the measles disease and hatching stages are truly unnoticeable. The following phase of the measles occurs following eight to twelve days. The contaminated individual has manifestations of fever, shortcoming and loss of craving. Hacking and running of the eyes and nose are additionally observed. Presently the contamination is spreading everywhere throughout the tissues all through the body. They likewise trigger the body’s invulnerable framework, which causes the manifestations. At the point when the measles infection contaminates the resistant framework and cooperates with the antibodies and T cells, a measles rash starts on the face and rapidly spreads to the body, arms and legs. The fever and hack become progressively extraordinary after the fifth day. The rash transforms into 3-4 mm red maculopapular injuries, which are level and somewhat raised. Practically this infection begins the face, behind the ears, and moves descending everywhere throughout the body. Inevitably the rash starts to vanish, yet the resistant framework is as yet feeble. Making individuals who were contaminated with the measles increasingly inclined to different diseases, making the invulnerable framework progressively helpless to get tainted, which in the beginning of the measles caused numerous passings.      With the development of clinical innovation and exploration, a measles immunization was created. It is given to kids before the age of four, and the measles contamination is on the decrease.

Order Managing Culture And Change Essay Sample free essay sample

Presentation An organization is a making out of numerous people who meet up to achieve a typical plan. The people who structure the organization might be of various different backgrounds or keep various assumptions. confidence. political affiliation and such like. This implies their way of making things thus how they respond to nature around them extraordinarily shifts. In that capacity. the inside concern condition is one that is seen to experience changes cut and again because of assorted variety in the work power. Also. the outer concern condition is able to adjustments in starting from unmanageable factors, for example, clime. rising costs. building. rivalry and globalization. political components. also, security, etc. These components power organizations to oblige to the adjustments in such a way, that they can last hardship or tackle the opportunity that nature accommodates them. It is a result of the up to referenced elements that chiefs and executives of organizations are worried about the aspect of pull offing human advancement and adjustment inside organizations. We will compose a custom exposition test on Request Managing Culture And Change Essay Sample or then again any comparative point explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Besides. the impacts of globalization and ever powerful building have made it inconceivable for organizations to dismiss this aspect of heading. Truth be told one may see the expression human advancement and adjustment another course fever among the many authored cants toward the path clique. Anyway a closer investigation at the organizations that have handle of the significance of pull offing change and human advancement in organizations is justified if the bars of value course is to be raised. In such manner subsequently. the purpose of this paper is to set about an example review examination toward human progress and adjustment nation. In particular. this paper will embrace the aspect of restriction to modify in organization and the organization of pick is Royce Corporations* Royce Corporation saw perhaps the greatest test yet in twelvemonth 2004 when it needed to experience genuine rebuilding in its activities incorporating an amalgamation with Chess Keeping Company. The central ground behind this radical measure was to remain competitory notwithstanding other renascent enormous Canis familiariss like Wal-Mart. to build gross and total compensations. impacts of globalization and dynamic designing. reduction of operational expenses among others. The central adjustments put in topographic point following the offer of Chess segment shop to Royce included occupation cuts especially for those laborers in the back office. introducing of increasingly effective buying component. modifications in the customer administration development each piece great as procurance, etc. Another adjustment that happened is that of remuneration of laborers. After the marriage between the two organizations it was recommended that pay was to extraordinarily trust on employeesâ€⠄¢ endeavor and thus essential wages were overhauled to a lower entirety while advisory groups were expanded. The course felt would be an extraordinary motivator among workers as it was open introduction based. Laborers would be compelled to set in abundance endeavor in their occupation so as to pick up very. a move the new heading felt would be useful for the organization. In adjustment to the positive thinking held by the new course at Chess Corporations and Royce Corporations. a sign of about $ 500 million for every annum was anticipated inside the undermentioned three mature ages. Four mature ages have gone since the amalgamation between the two organizations and an unsmooth rating of the situation in the two organizations shows that the characteristic of $ 500 million has non been met. Now it is of import to show out that of the numerous organizations that experience modifications, for example, the one by Chess and Royce Corporations. simply 25 % of them win and the parity terminal up wrecked not long after or execute way underneath standpoints in footings of meeting specified plans and points. Given the army changes presented the people at Royce Corporations maintenances and Chess Corporations have needed to experience numerous phases of modification and compelled to oblige to better approaches for making things. Nonetheless. change is unavoidable each piece great as fundamental and organizations, for example, Chess Corporations need to development their tasks to suit nature in the event that they are to blast. In that obvious radiation at that spot comes a vocation of introducing adjustments usefully so open introduction during the entry time frame is non influenced antagonistically. Potentially the principal challenge that Chess and Royce Corporations organizations experienced during this section stage and perhaps before the existent change was executed was that of hapless staff thought process. This is on the grounds that it is normal that after the marriage between the two organizations the countenances in course would modify and by augmentation the strategies and plans utilized by the organizations. This in itself is sufficient to do a group of apprehensiveness among the laborers as they wonder what may go on to their occupations. Lay offs are smelt from a remote place and each one is enthusiastic about outperforming the different as a cautious component to ensure their work. The conceivable outcome is that some signifier of rivalry may break out among laborers. open introduction may wane essentially as contribution in the occupation wears off or laborers become egotistical with considerations that may be significant in isolating conventional open introduction from slapped together open introduction. Essentially. another authoritative development would hold to be reproduced in the new organization which in itself takes a cluster of clasp and endeavor from all people in the organization. For case. on the off chance that Chess Corporations was increasingly focussed on customer fulfillment and thus prepared its representatives in customer consideration while on the different manus Royce Corporations was non so there emerges an existent test in that the new work power will hold employments partner to one another because of contrasts in the authoritative human advancements. Eminently. fresh contrasts in the hierarchical human progress cause separations inside the organization and this hinders on crew work. So what are the grounds behind the resistance to adjust saw in Royce Corporation. One significant ground behind resistance to adjust is the normal fear of the obscure. It is human instinct to be comfortable with associate and ordinariness. ( Tobin. 1999. p8 ) . Anything that apparently endangers to distabilise the position quo is evaded with power. The laborers at Royce company were non prepared to envelop what they felt dubious of consequently the cliques that were framed among laborers of the two organizations. Another profound ground behind the restriction to change is hapless introduction and execution of adjustment. An occasion in point is the means by which the modifications of compensation removal were made. The workers were non educated regarding the close by modifications in compensation. Accordingly. the workers felt double-crossed and cheated. They felt that the heading should hold educated them before manus with the goal that they could give their contribution on the undertaking. The greater part of the laborers felt that the new amalgamation was out to work them and overlook their associations as a significant bit of the company’s achievement. True to form. the opposed the compensation changes and went on a spell delayed for hebdomads until the new course tended to their pickle. ( Palmer. 2004. p75 ) . Another modification that was not well presented was the occupation cuts especially for the laborers in the back office. The workers opposed the execution of the amalgamatio n since they felt that if the amalgamation took off easily they would be saved. Moreover. since the anthem off was non joined by any signifier of remuneration consequently resistance to the modification was escalated. What is more these occupation slices were to be done behind the workers dorsums to dodge showdown with representatives. The more established specialists and the newly utilized laborers felt that they would be the first to be focused in the melody off. This additional to the solidarity to protection from adjust. Absence of appropriate introduction and direction of representatives to their new occupation places is other than another ground behind resistance to adjust. ( Palmer. 2004. p51 ) As referenced before. Royce Corporation was more customers arranged while Chess Corporation was creation situated. Given the distinctions in direction. it would hold been normal that the change embassadors and the chiefs in the new combined organization would hold taken the clasp to elucidate completely new work processs. build up the workers for their new occupations and give clear route on the most proficient method to achieve new finishes, etc. In this nation the top executives at Royce enterprises fizzled and accordingly restriction from workers. Clearly. the workers felt perplexed. ill-equipped and worried by the modifications and opposed change. Critically. the amalgamation among Chess and Royce Corporations was a baronial purpose and its outcome should hold been effective if simply the correct procedure was followed. The request subsequently asks. what is the correct system of introducing adjustment and pull offing modification? First and first. timing plays a significant capacity. It is hasty to introduce significant change at twelvemonth terminal. At that clasp individuals are non equipped to set up modification. a feature that Royce Corporation distinguished and stayed away from. In add-on. solid driving is significant in guaranting smooth section. In this occasion. there was an away from of driving and hence restriction. The representatives required individual to control them in observing the greater picture in footings of the advantages that they could collect. Without driving. all executions were seen adversely. A pioneer would other than hold played the capacity of go-between with the goal that both empl

All About Nature Resource Management Free Essays

A further model that a nation, where a specific characteristic asset isn't accessible, can utilize different variables including human asset, shrewd and geographic favorable position and so on to build up their nation, anyway that nation needs to rely upon different nations, so as to get it, attributable to which the previous needs to put a ton of money related assets in the exchange, is genuine can be found in estimation of regular asset wealth that information on rents arranged by the World Bank. Their fundamental outcomes don't appear to validate the presence of a â€Å"resource curse† among change nations. Truth be told, the greater part of their proportions of asset bounty positively affect monetary development. We will compose a custom article test on About Nature Resource Management or on the other hand any comparable theme just for you Request Now These outcomes hold in any event, for point-assets which are for the most part said to be the most hindering to development. Despite what might be expected, horticulture appears to negatively affect development. These outcomes are powerful to the incorporation of extra control factors generally utilized in the writing. Changing the proportion of monetary change (value advancement or level of privatization) don't adjust results. Their outcomes show that institutional quality positively affects financial development. This cooperation term has a positive effect of development (like organizations fundamentally) while the coefficient related to common asset wealth is presently negative. Different coefficients generally have the normal signs. They discover proof of monetary union between nations since introductory pay negatively affects development. Principle results are unaltered, oil sends out still positively affect monetary development though mining and agrarian fares have a negative one. They likewise utilize backwoods land and agrarian land as a portion of complete zone so as to have a superior proportion of â€Å"diffuse resources† (since we don't have numerous manor crops on the move nations in opposition to Latin America or even Africa). The two of them have a negative impact. They measure normal assets by asset leases as a portion of GDP. Their principle results don't bolster the possibility that there is a â€Å"curse of regular resources† experiencing significant change nations. The scientists locate a positive and strong effect of regular assets on financial development and this outcome holds in any event, for â€Å"point resources† and oil which are by and large observed as negatively affecting monetary exhibitions. Unexpectedly, agribusiness and woods (â€Å"diffuse† assets) appear to effectsly affect development. The most effective method to refer to All About Nature Resource Management, Papers

Law School Admissions Picking Letter Writers

Your recommendations are crucial because they are the only component of your application that is contributed by a second-party. When choosing recommenders, consider the following: Does this person really know my work? It is important to have recommenders who can evaluate you as a student, who can speak to your academic prowess. Unless you have been out of school for many years, make sure you have at least one, and ideally two, professors. Law school is largely a prestige game – try and solicit letters from the highest impact people, who still know you. You can submit an optional third professional reference if you have one. Can this recommender express him or herself effectively? You want to be sure that the person writing your recommendation can advocate for you. A recommendation that is riddled with typos, or that lacks a cogent message won’t make a compelling case for you. What context does this person know me in? What we want to vary is content, not writing quality. Did you write a long seminar paper for one professor, and do research for another? Has someone known you for ten years and can really give testimony about your character, or what you’ve gone through? Did you get an A+ in a particular class? Try to round out the topics, and then remind your letter writer of the full context in which they know you. Give your recommenders a firm deadline and share the date on which you would like to submit your application. Sometimes, they may even be willing to tailor the letter to each individual law school (this is especially true if you have law professors writing you letters, who often have faculty connections at various schools). Hold yourself to high standards of professionalism when requesting letters. This will make you look more serious and can lead to a better letter. It also will ensure your letter writer is happy to write new letters in the future. Do not request a letter of recommendation without attaching a personal statement draft and a resume. Don’t be afraid to check in and remind them. Furthermore, the thing you want to vary in letters of recommendation is subjects, not writing quality. Talk to your letter writers about speaking to different topics – for instance, personal character, writing skill, leadership capacity, etc. Read some ofJimmy's previous posts on law school admissions here and here! Whether you’re just beginning on this race, or whether you just need a final push to get you over the finish line, your tutor will design a customized road map that will take you through every aspect of the application process, covering LSAT preparation, recommendations, the personal statement, addenda, and anything else that you need. Applicants who follow our structured approach find that they are less stressed out and more successful. ; Read more posts regarding law school admissions below! Law School Admissions: Drafting the personal statement Law School Admissions: Deciding whether to retake the LSAT Law School Admissions: Deciding on the diversity statement

Aristotle s Effect On The Science Of Nature Essay

In Physics II, Aristotle speaks to the four causes that can explain any changes in the science of nature. First, he says there is a cause that explains what something is made of, such as the bronze of a statue (194b25). Second, there is a cause which is related to the form to which a thing is made into (194b27). Third, there is the original, primary source of change. It is what makes of what is made and what causes change of what is changed, like that of the father to a child (194b30). Lastly, there is the end cause, which is the intended purpose of the change or the reason behind why a thing is made or done (194b35). An example of this would be health, which is the cause of walking around. On the other hand, Socrates first explores multiple potential causal explanations, such as that which relates to the natural sciences (96a7). Another explanation he looks into is one that involves the Mind (97c2). Via Anaxagoras’ teachings, he was taught to think about the best ways to utilize something in order to figure out the reasoning and purpose of that object (97d1). However, in the end, he utilizes the theory of forms to illustrate causal explanations for things that occur in this world. For example, he speaks to how the cause of a person being beautiful must be due to the form of Beauty itself (100c2-5). With this, there are certain distinguishable properties that will always be associated with that person stemming from the Form, and that person cannot become or be approached byShow MoreRelatedAristotle, The Man Of Thinking1025 Words   |  5 PagesAristotle, the Man of Thinking Aristotle is his name, philosophy is the game. Aristotle was a Greek philosopher and scientist who was born in Stagira Greece in 384 B.C. He lived to be 62 years old, which at the time, was a very good lifespan. Aristotle’s place of death was in Chalcis. His full name is Aristotle Stagiritis son of Nicomachus. He had a wife by the name of Hermias and a son with the name of Pythias. Aristotle is known well for teaching the world renowned man, referred to today as AlexanderRead MoreAristotle s Influence On Modern Society1435 Words   |  6 Pagesthe pre-modern age in World History is Aristotle. Aristotle was a Greek philosopher, a student of Plato and teacher of Alexander the Great. He wrote on many different subjects, including physics, poetry, theater, music, logic, rhetoric, politics, government, ethics, biology and even zoology. Aristotle was one of the most important philosophers in Western thought, and was one of the first to systematize philosophy and science. Aristotle questioned the nature of the world and of human belief, knowledgeRead MoreDeontological Moral Systems : Ethics1532 Words   |  7 Pages- even if that results in harm to others. For example, you would be acting immorally if you lied to Nazis about where Jews were hiding. The word deontology comes from the Greek roots deon, which means duty, and logos, which means science. Thus, deontology is the science of duty. Key questions which deontological ethical systems ask include: Teleological. Teleological moral systems are separated mainly by a focus on the consequences which any decision might have, and for that reason, they are oftenRead MoreThe Most Significant Of The Scientific Theories Have Made Considerable Progression1372 Words   |  6 Pagesskyrocketing. Some regions unprosperous than others at times, while others majorly succeeding where other nations are failing. These peaks and valleys are what provision the evolution of theories. The most significant of the preceding times was the era of Aristotle the philosopher around three hundred B.C., who helped lend a foundation for the forthcoming generations. Later on during the years four hundred through one thousand B.C., when much of the world was in stagnation, mostly Europe, the Islamic EmpireRead MoreThe Discoveries Of The Scientific Revolution1444 Words   |  6 PagesBefore the Scientific Revolution began to take shape around the year 1550, the world of science was exceedingly narrow and thought to be known. The scientific views of the pre-scientific revolution stem back even further than the popular Aristotelian era of science. Hippocrates contributed greatly to the field of science, especially in the field of medicine. It was during his years of medical studies that Hippocrates theorized the â€Å"Four Temperaments†. This theory hypothesized that there are fourRead MoreThe Is An Innate Characteristic Of Humans1435 Words   |  6 Pagesand currently plague us. Answering these seemingly impossible questions is the role of science, specifically physics, in humanity. At the beginning of the quest to understand the universe in its entirety was Aristotle and his Aristotelian physics. While in the future Aristotelian physics would turn out to be completely incorrect, his original ideas and theories were paramount in the development of modern science, and are evident in a wide array of fields. However, it was not until humanity acceptedRead More Aristotle And Meteorology Essay1674 Wo rds   |  7 Pages Thesis: How accurate or inaccurate were Aristotle’s writings on meteorology? Introduction: Aristotle wrote about many subjects that can be grouped into five general divisions: logic, physical works, psychological works, natural history works, and philosophical works. One of the little known physical works concerned meteorology. Aristotle’s views on meteorology are fascinating, but many of the views were not accurate. This paper compares only a few of his views to actual meteorological factsRead MoreThe Invention Of The Scientific Revolution1705 Words   |  7 Pagesrediscovery and translation of the classical writers, particularly Aristotle, sometime during the fourteenth century. It is only in retrospect that one can understand broad movements, such as this, but one can assert with confidence that the scientific revolution resulted from a confluence of several factors, most particularly the rejection of the Ptolemaic model of planetary movement combined with an increased interest in Aristotelian science (Grant, 1996). Thus, the scientific revolution , insofar asRead MoreAristotle Mill on Capital Punishment1322 Words   |  6 PagesAristotle amp; Mill’s Opinion on Capital Punishment Brianna Lelli Hugh Miller Paper #2 Topic #4 October 17th 2011 Capital Punishment is a moral controversy in today’s society. It is the judicial execution of criminals judged guilty of capital offenses by the state, or in other words, the death penalty. The first established death penalty laws can date back to the Eighteenth Century B.C. and the ethical debates towards this issue have existed just as long. There is a constantRead MoreThe Roman Catholic Church Responded Treatment1645 Words   |  7 Pagesindulgences, made bishops live in their diocese, and there was new rules for clergy. Galileo Galilei, 1564-1642, was an Italian astronomer and philosopher, the Medici family was a patron of his work. Galilei viewed the physical universe as a â€Å"Book of Nature...written in mathematical characters.† Galilei also improved the telescope, this allowed him to observe the motion of the planets and the surface of the sun and moon. Galileo came to accept Copernicus’ idea of a heliocentric universe based on observation s

A Paper On Tattoo Culture - 1771 Words

Maddie Edwards Humorous Discourse Foundations Paper Tattoo Culture When defining a term it first has to be understood, which is why American studies can be incredibly difficult to define. Although using different ways of studying popular culture, in this case tattoo culture, a better understanding of American studies can be formed. Specifically by using the ideas of researching context to understand the time and surrounding area, self- reflexivity to understand how oneself is affected by this, and studying how the material and visual cultures of everyday lives. Tattoos are one of these forms of popular culture, and the culture surrounding tattoos exemplifies many of the characteristics of American Studies. When studying tattoo culture context is significantly important, because a majority of the time this art form means something to the individual. As Nash Smith discusses literary analysis only gives us part of the information that is necessary in understanding where ideas stem from and how they became relevant. He also talks about ho w â€Å"the informations gathered from these sources needs to be interpreted in the light of a thorough knowledge of class structure, of the stratification of taste according to levels of sophistication, and of the different audiences in which different magazines and publishing houses addressed themselves.†1 While tattoos are not regulated by publishing houses and different magazines it is still helpful to interrupt them based on the environment.Show MoreRelatedFor Centuries, Ink On Skin Has Been A Synonym For Social1060 Words   |  5 Pagesbeen a synonym for social markers, group identity, and perpetration of traditions. Tattoos in the past were a permanent hallmark--a stamp of authenticity and a mark of permanent fidelity to a cause, a group, or to an identity. They were a loud statement of culture and belonging. They served as amulets, symbols, and religious traditions. However, nowadays, tattoos seem just the product of a capricious and vain pop culture. They seem chea p and easy souvenirs from travel adventure, bachelorette partiesRead MoreTattoos And Its Effects On Society1151 Words   |  5 PagesTattoos are a very trendy and fun way to express yourself. I myself have several tattoos and as much as I love my tattoos I was horrified to get them. I constantly get asked why I get tattoos or that I will regret them when I get older. Some people dont understand that to me, my tattoos mean more then just pretty art. They are a vivid remider of the reason I got them in the first place. Like the tattoo I got as a reminder of the pain and heartbreak I went through when my father passed away. The tattooRead MoreTattoos Essay812 Words   |  4 PagesIn this research paper the main topics will be about the history of tattoos, how tattoos are made, and the impact of tattoos in society. Research shows that people have been experimenting with tattoos for many years, as early as c. 2000 B.C. The ancient Egyptians were the ones to help popularize the idea of tattooing. Tattoos have many meanings behind them depending on the culture. Such as for the Ancient Asian cultures tattoos were to help sustain strong physical health. Another example would beRead MoreHow Tattooing Is Well As The Modern Techniques Of Tattooing1126 Words   |  5 Pageshistory of tattooing as well as the modern techniques of tattooing. 5 types of tattoos: †¢Medical tattoos †¢Traumatic tattoos †¢Professional tattoos †¢Cosmetic tattoos †¢Amateur tattoos Have you ever wondered why you have heard of tattoos hurting or experienced the tattoo process? Have you ever wondered how or why tattooing began? Well in this essay I hope to get you these answers and more. My Reasoning After 11 years as a Tattoo Artist I decided to figure out when tattooing first started and the first tattooingRead MoreThe Social Change Of Tattoos And Young Adults1511 Words   |  7 PagesChange of Tattoos and Young Adults in the Workforce Body art modification has changed drastically over the last several decades. The negative association that society has with tattoos is beginning to become over looked as the newer generations are adapting more and more. The younger crowd has begun to embrace the tattooed culture either through self-expression or stylistic body modifications, although the social stigmas still remain evident. Despite the military’s current views on tattoos, countlessRead MoreVideo Games, The Category Of First Person Shooters Essay1624 Words   |  7 Pagesstayed the same†(154-155). Search, Katherine Lee. â€Å"Evaluating Internet Sources† â€Å"As with print sources, you must take care to evaluate any material you locate on the Internet before you use it in an academic paper. You must use your judgment when selecting sources for your research paper. The Internet may pose more difficulty because its resources offer fewer clues that a book or journal article might give. Often, authors’ names are missing, there may be no contributor credentials, and typicallyRead MoreIn Southeast Asia, Animism and Buddhism have led to a unique tattoo culture where tattoos have1400 Words   |  6 PagesIn Southeast Asia, Animism and Buddhism have led to a unique tattoo culture where tattoos have practical, magical, protective and power enhancing properties. Animism is the world view that non-human entities (animals, plants, and inanimate objects or phenomena) possess a spiritual essence. This is the indigenous belief system of the people who inhabit Burma, Thailand, Southwest China, and Laos. The imagery and ritual of tattoo cul ture in Southeast Asia takes its roots in a mixture of indigenous practicesRead MoreAn Army White Paper, The Profession Of Arms900 Words   |  4 PagesAn Army White Paper, The Profession of Arms A Profession of Arms. It is a title that the United States Army currently holds. A Profession that is uniquely separates us based on the lethality of our weapons and operations. Many factors are involved that make what we do in the Army a Profession and not just a job or an occupation. To maintain this idea that what we do is a Profession takes understanding what a Profession is, a tenuous balance by leadership and the culture of the professionalsRead MoreResearch Report : What Are Tattoos1641 Words   |  7 PagesReport: What are Tattoos? Criteria A Name: Amna Saeed Class: MYP 3 Date: 9/29/17 Word count: 1589â€Æ' Research plan: What Why Time Priority Primary Research Secondary Research What are tattoos? To have knowledge about tattoos and can differentiate between tattoos and other products. 9/29/2017 High ïÆ' ¼ What is the history of tattoos? For inspiration from past ideas and products. 9/29/2017 Medium ïÆ' ¼ Are tattoos unacceptable? To know the opinions of society and how they affect types of tattoos. 9/29/2017Read MoreWhat I Learned At The English 110 Essay1125 Words   |  5 Pageslearned throughout my research process this year is the use of the writing center and librarians , the online databases, and the moodle forum post allowed me not only to succeed in English 110, but will give me beneficial techniques to use in future papers I will have to write. After receiving the prompt for a reflective research essay three, I began my writing process in a normal direction to starting an essay with simply brainstorming ideas. I started to think about which topic I d be most passionate

Anne Finchs Opposition to The Rape of the Lock The Restoration Period 1660

Anne Finchs Opposition to The Rape of the Lock The Restoration Period 1660-1700 Essay Anne Finchs Opposition to The Rape of the Lock The Restoration Period 1660-1700 was a period of social, political and philosophical turmoil, which laid the foundation for future centuries. This period was marked by an advance in colonization and trade and by the birth of the Whig and Tory parties. In poetry, works of Alexander Pope and Anne Finch and a number of other poets distinguishes the Restoration. But, there are several objections from these poets; one particular opposition occurs between Popes The Rape of the Lock and Anne Finch. Pope was born into a Catholic family during a period of intense anti-Catholic sentiment in England. His family was forced to move because Catholics were forbid from living within a certain area of London at this time. While Pope was growing up, Catholicism affected his education although there were very few Catholic schools. His life would soon influence his writing of The Rape of the Lock. The following comes from the Twickenham Edition of Popes poem: The families concerned in the Rape of the Lock à ¢Ã¢â€š ¬Ã¢â‚¬Å" The Fermors, Petres, and Caryllsà ¢Ã¢â€š ¬Ã¢â‚¬ were prominent members of that group of great intermarried Roman Catholic families owning land in the home countries. Most of whom came within the circle of Popes friends and acquaintances and to whom Pope considered his own family to belong. Some time before 21 March 1712, when Pope sold his poem to Lintott, Robert, Lord Petre had cut off a lock of Arabella Fermors hair, and John Caryll had suggested to Pope that he should write a poem to heal the estrangement that followed between the two families. Twinckenham 83 Alexander Pope is responsible for one of the most comic poems of the eighteenth century, The Rape of the Lock. This poem was written specifically to resolve a serious falling out between two leading Catholic families. The cause of the quarrel was the cutting of a lock of hair by Lord Petre from the head of Arabella Fermor. But, this poem also discussed another theme: the relationship between men and women. The events that Pope describes in this poem occur between Belinda, who is motivated by pride and vanity and Baron, who is driven by ambition. Belindas energy is driven to attract a man and pretend to be affectionate and then cast him off for another. Baron oversteps his boundaries of acceptable behavior by acting with force toward the desirable woman. The Rape of the Lock is both a scornful description of a ridiculous social situation and a serious analysis of consequences of flattering self-esteem and desire. The Rape of the Lock is a staple of neoclassical writing; it includes wit and wit is characterized by parallelism and balance. It contains epic conventions such as war between the sexes, epic game played on the velvet plain of the card table, a journey to the underworld, and battle. Pope writes by describing the man as the hero. But Finch writes her poetry in regards to women. When Anne Finch wrote, she  followed a particularly intellectual course, not only for women but also for anyone at the time. She wrote about philosophy; her philosophical work had another important source: her own physical pain. She was concerned to provide theodicy for her writers. She attempted to reunite the existence of a compassionate or benign god with the existence of suffering and other evil in the world. Her audience should be prepared to read religious controversy, which is far more intense than other philosophical contemporaries. Ann Finch may have objected to Popes The Rape of the Lock because Popes poem is impressed by the force of humor and the style serves to exaggerate how ridiculous war is between a man and a woman. In The Rape of the Lock, the laughter and ridicule do not undermine the importance of good sense and virtue in the relationships between men and women. Finch disagrees and believes the woman is a heroin in this poem. Finch argues that woman rule the race, but men believe that they are the rulers. In most of Finchs works, she submerges political conflict in an explicitly female lyric voice DeMaria 201. Finch creates both female poetry and poetry of abjection out of this situation- or, rather more accurately, those tangled subjectivies created the abject female poet out of her 201. She is comfortable criticizing one of the most powerful poets in her period Pope while killing him with kindness. .uab4d072225ea394a6be315a3c9df713d , .uab4d072225ea394a6be315a3c9df713d .postImageUrl , .uab4d072225ea394a6be315a3c9df713d .centered-text-area { min-height: 80px; position: relative; } .uab4d072225ea394a6be315a3c9df713d , .uab4d072225ea394a6be315a3c9df713d:hover , .uab4d072225ea394a6be315a3c9df713d:visited , .uab4d072225ea394a6be315a3c9df713d:active { border:0!important; } .uab4d072225ea394a6be315a3c9df713d .clearfix:after { content: ""; display: table; clear: both; } .uab4d072225ea394a6be315a3c9df713d { 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; } .uab4d072225ea394a6be315a3c9df713d:active , .uab4d072225ea394a6be315a3c9df713d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uab4d072225ea394a6be315a3c9df713d .centered-text-area { width: 100%; position: relative ; } .uab4d072225ea394a6be315a3c9df713d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uab4d072225ea394a6be315a3c9df713d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uab4d072225ea394a6be315a3c9df713d .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; } .uab4d072225ea394a6be315a3c9df713d:hover .ctaButton { background-color: #34495E!important; } .uab4d072225ea394a6be315a3c9df713d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uab4d072225ea394a6be315a3c9df713d .uab4d072225ea394a6be315a3c9df713d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uab4d072225ea394a6be315a3c9df713d:after { content: ""; display: block; clear: both; } READ: Adventures Of Huck Finn And Civilization EssayPopes belief in Catholicism and Finchs belief in philosophy may have also been a cause of Finchs objection to The Rape of the Lock. The two writers had different viewpoints toward religion. Also, Finch may have seen more importance in writing about her own pain, while Pope finds it important to write about others pain. He writes about the pain of Belinda and Baron. In conclusion, there are several examples, as one can observe, of Finchs objection to The Rape of the Lock. The life and beliefs of these two authors were entirely different and this seems to be the major reason Finch may have objected to Popes poem.

Legal Liability Nunn vs. Massachusetts Essays - Types Of Insurance

South Carolina State University Department of Health Science Article # 2 Legal Liability Nunn vs. Massachusetts Case # 12-3712 Submitted for: P.E. 413 Legal Aspects of Sports Presented To: Dr. Crystal S. Nixon Submitted By: Orangeburg, SC October 6, 2015 Facts of the case: 1.In August of 2010 two former NBA referees, Ronald Dunn and Donald Vaden, filed a suit against Massachusetts Casualty Insurance Company alleging false supplemental disability insurance policies that were issued to them. 2.Sales representative Steven Lucas for Sun Life of Canada, who falls under the title of disability expert, provided the former referees with inaccurate information. 3.Sales representative Steven Lucas assisted former NBA referees Ronald Dunn and Donald Vaden in completing the application for Sun Life of Canada over the phone still providing false information. 4.Plaintiffs received their copies of Massachusetts Casualty Insurance Company supplemental disability insurance policy but never read the policy. 5.The policy included a Notice of 10 day right to exchange. This policy clause stipulated that the plaintiffs could return the policy if they were not satisfied with the results within ten days. Issue of the case: Should the referees except that they were irresponsible for not reading the contract before committing to the insurance company? Answer: True Ruling: Not Guilty My reaction to the case: My primary reaction after reviewing this case was that the Massachusetts Casualty Insurance Company was responsible for the misrepresentation that was conducted by an employee of their company. However, after further review I believe that the negligence is on the part of the plaintiffs. It was their irresponsibility that allowed them to sign a contract without reading the fine print. Any contract or legal document falls under the requirement of the recipient to review. If I were in the plaintiffs shoes I would have believed that I could file a suit under the pretence that I was given false information. However, the referees must take responsibility for not completely following the guidelines of the contract which is simply to read the contract. As a future sports professional, I have learned to pay close attention to anyone selling me insurance, and to be mindful of what I am signing. If I sign a legal binding document then it is my responsibility to accept w hatever stipulations come with the document. https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB0QFjAAahUKEwj9iZLB_q3IAhULdD4KHWaZCSM&url=http%3A%2F%2Fcaselaw.findlaw.com%2Fus-2nd-circuit%2F1658154.html&usg=AFQjCNF8rXHRkLV9VH2E3nquAOHBR4yyJQ&bvm=bv.104317490,d.cWw

The Pianist essays

The Pianist essays The Pianist is a historically based film that captivates the audience with its intense, riveting scenes. The movie outlines Hitlers policies against the Jewish race during the holocaust in the late 1930s. It focuses on the lives of one particular Jewish family during the period in which Hitler invades and occupies the Polish community of Warsaw. The title was inspired by the career of the main character before and after the Holocaust. The film chronicles the experiences of a Jewish pianist and his survival through the Holocaust with determination and the help of others, while millions of other Jews perish. The theme is portrayed effectively throughout the movie. The merciless treatment of the Jewish people convinces the audience to empathize with the characters in the movie. The movie begins with the pianist, Szpilman, in the studio playing the piano while the community of Warsaw is being bombed. A woman who will help him later in the movie approaches him and tells him of her admiration for his musical talent. Soon after the bombings, Hitler institutes the policies, he takes away their money and their property and they are forbidden to enter public places. These policies soon become more severe when Hitler forces the Jews into Ghettos and eventually into concentration camps. When the pianist and his family are being escorted to a train destined for the concentration camp, the pianist is helped by a police officer and he escapes. Several helpful Germans then help him to hide out from the Nazi soldiers. When Hitlers police seize the Germans, Szpilman returns to his old apartment building in the Ghetto. There a Nazi soldier who helps him by bringing him food and other supplies finds him. The movie ends with the British army invading Poland and sending all the Nazi soldiers to labour camps. In doing this, they save what is left of the Jewish population in Poland. ...

Attitude, Legislation, and Litigation on Special Education Essay

Attitude, Legislation, and Litigation on Special Education - Essay Example The thrust of the special education movement has been to give students with disabilities access to a general education, remove the stigma of being labeled, and create methods to monitor and measure the success of these programs. The 1975 act was originally known as the Education for the Handicapped Act (EHA) and was designed to give students with disabilities a free education in the least restrictive environment possible (Special education laws, 2005). Subsequent amendments have been aimed at broadening the definition of disabled to include visual impairment and making provisions for including these students in regular classes when possible. Physical and mental challenges have historically been stigmatized and labeling has often been used as a detrimental tool to exclude students from normal activities. The 1975 Act was passed to reduce these social consequences and provide a system that was more fair in its treatment of the disabled. Prior to any legislation regarding special education, disabilities were generally viewed as a negative and the students were often shunted to areas outside the mainstream school system. One of the issues that have framed the special education debate in the last 30 years is the move towards inclusion. ... "outright denial of disability in some cases, illustrated by the contention that disability exists only in attitudes" (Kauffman, McGee, & Brigham, 2004, p.615). This has had the counter-productive effect of making a disability seem as something that does not matter. While this has had the positive effect of making regular classrooms more accessible to students, it has also minimized the challenge that faces these students. In many cases the past 30 years have seen attitudes change from discriminatory to indifference. The long-term outlook for special education in its current form could produce results that are the opposite of what it hopes to accomplish. Pratts (2000) states that " race and social class are being related to levels of academic achievement". This is only logical as we see poverty and family history placing many students at a disadvantage. This impacts the makeup of special education classes because "academic achievement is a strong predictor of referral and eventual placement in special education" (Hosp & Reschly, 2004, p.187). This has the potential to place a disproportionate number of students into special education based on socio-economic class. If the current movement of inclusion creates an environment of indifference, these students may become isolated and neglected. Public awareness of the realities of being disabled needs to be continually addressed. Without creating a proper public attitude towards special education, we may create a system that is less restrictive and mor e fair, but we also may cultivate an atmosphere of injustice. Feelings of awkwardness have often been a part of my own personal reaction to students with disabilities. In the past I was uncomfortable confronting their disabilities due to my confusion about whether or not they

Sab 361 unit 2 Essay Example | Topics and Well Written Essays - 500 words

Sab 361 unit 2 - Essay Example A true account is that sports are made up of aspects such as accountability, sportsmanship, setting a good example and acceptable moral behavior. It is therefore, expected that participation in sports in addition to a conducive environment and coaching strategy will to a significant extent, will modify thus build someone’s character. This has been the dreams of coaches, physical education teachers, trustees among other relevant stakeholders. However, the ideals of sports in relation to building an individual’s characters are usually degraded by situation of drug use (for enhancement purposes), injuries, fights and even instances of molestation (Edmundson, 2012). I believe that sports do play a significant role in building someone’s character. Practicing is important in any sporting activity. Practicing is concerned with trying out particular routines with a view to achieve perfection. It is important to note that trials do come with events of failure. It is only after failing that one succeeds. This entire process instills a sense of patience, hope, resilience among others. These are clearly elements of good character and should be encouraged at all costs. Sports offer a favorable opportunity for socialization. Sportsmen and women learn to play as a team, communicate in a similar language in order to achieve a common goal. In other words, sports enhance morality in addition to desirable qualities such as the effectives to handle tasks, time consciousness and perseverance. Sports can also result into negative traits such as violence. Farley (2010) reveals that excellence has always been the greatest desire of any athlete. Various types of sports have rules that are supposed to be adhered to. An athlete is therefore expected to train/practice with respect to those rules. It should be noted that an individual can succumb to intense pressure to perform. This

Most Influential Nba Players Essay Example for Free

Most Influential Nba Players Essay He would travel back and forth to school in a town called French Lick, where he excelled at basketball at an early age. Bird was a key component in his high schools basketball team, where he was the leading all-time scorer by the time he graduated in 1974. Larry Bird was drafted by the Boston Celtics with the sixth overall pick in the 1978 draft. The Celtics gave Bird a contract worth $3. 25 million over five years. Birds new contract made him the highest paid rookie in the history of team sports at that time. Bird averaged 21. points per game, and averaged 143 steals and 2,955 minutes per season played. He led the Celtics to 3 championships and was also awarded MVP (most valuable player) 3 times. After helping the Dream Team to Olympic glory, Bird announced his retirement from the game of basketball in 1992. Bird ended his career with 21,791 points, 8,974 rebounds, and 5,695 assists; he was elected to the Hall of Fame in 1998. Shortly after his announcement, he became an assistant coach with the Boston Celtics. At the end of his career Bird was making $23 million a year (Larry Bird Biography 1,2). Michael Jordan was an influential player in high school and in the NBA in the 1980s-1990s. He was born on February 17, 1963, in Brooklyn, New York. In 1975 Jordan enjoyed playing baseball and was on the little league team, leading them to the Little league World Series. Jordan was an exceptional pitcher at an early age. It wasnt till an older age when he realized what a good basketball player he was. In the Summer of 1984, Jordan made his first appearance at the Olympic Games as a member of the U. S. Olympic basketball team. In late 1984 Jordan joined the Chicago Bulls and led them to six national championships. He led the league in scoring with an average of 31. 5 points per game. Chicago recorded 61 wins, and Jordan then turned in one of the most dominating postseasons in NBA history, averaging 31. 1 points, 6. 4 rebounds, and 8. 4 assists per game. He became the first player since Wilt Chamberlin to score more than 3,000 points in a single season. Jordan was awarded MVP eight times, received NBA Rookie of the year award, and was selected for the All-Star Game. Jordan invested between $10 million and $20 million to become part-owner of the Charlotte Bobcats in 2006. He was named the teams Managing Member of Basketball Operations. Bobcats majority owner Robert Johnson sought Jordan for his basketball knowledge and management skills. In 2010, Johnson sold the team to Jordan. The sale made Jordan the primary owner of the Bobcats. Jordan was making $90 million a year at the end of his career (Michael Jordan 1,2). LeBron James has been an influential player in his high school and in the NBA from 2002-2013. LeBron James was born on December 30, 1984 in Akron, Ohio. James also had a tough childhood with his dad leaving him and his mom. He showed a talent for the sport of basketball at an early age and was known as a prodigy in high school. LeBron James attended St. Vincent-St. Mary High School in Akron, Ohio. As a freshman, James averaged 18. 0 points and 6. 2 rebounds per game, leading his team to a 27-0 record and a Division III state title. He started off his career on the Cleveland Cavaliers. He is now currently on the Miami Heat averaging 29. 7 points, 8. assists and 7. 3 rebounds per game, and he was selected to his sixth consecutive All-Star appearance. James became the first player since Oscar Robertson to have at least 40 points, 15 assists and 13 rebounds in a regular season game. James scored his 20,000th career point on March 13, the youngest player in NBA history to achieve such an accomplishment. LeBron has been awarded the MVP award 4 times and also is the youngest player to win the Rookie of the year award. At the end of this year James will make 60 million (LeBron James Biography 1,2). Larry Bird, Michael Jordan, and LeBron James are some of the most inspirational and energetic players in the NBA. They never lost the thirst to succeed and the preservation to win. They will go down in history as the definition of competition at its best. Through tough times and tragedy, they never gave up and pressed on. The reason for their well-known success has been nothing short of hard work and determination. Their will to win, has motivated many athletes and non-athletes alike to set goals for themselves and to reach them.

The Apaches Essay -- essays research papers

Due to the educating of the Apaches and their persistence behavior, they flourished in the Great Plains region of the US. The American Indian Tribe first got their name "Apache" from the Yuma Indians. The word Apache means "fighting men". They were hunters, farmers and seed gatherers. The Apache were known for their love of Warfare and raiding, today we would call them thieves. When the Spaniards first came to the Americas they were constantly being under attack by the Apache. The Tribe would steal the Spanish horses and eat them. They were not yet introduced to the technology of using the horse as transportation. The Apache used their dogs to help move their wickiups or homes around because they were nomadic people. Wherever the buffalo went they followed. The horse began to become transportation and no longer a meal source once the Indians watching the Spaniards ride their horses. Since the Apache loved war so much it was a surprise that they let the Spaniards on their land. The fact was the Apache let them stay on the land so that they could keep raiding them for their supplies. The persistence of the Tribe helped them make a name for themselves. (Josephy, 117) The Spanish Police began to capture and make slaves out of all the Apache trying to raid the pueblo, or town. They tried to convert the Apache to Christianity but this did not prove successful. Even though the Apache liked to steal the Spaniards supplies they eventually signed a peace treaty. (Josephy, 373) When the Spaniards were fighting with the Americans in the Mexican war the Apache were a nuisance. The Spanish troops were so busy in this war that the Apache did not have enough supplies. So they were forced to disobey the peace treaty and steal for survival. The act of breaking the peace treaty sparked warfare.(Terrell, 148) There were many branches of the Apache Indians spread across the Great Plains. They began to unite and raid near by New Mexican towns. When the tribes Apache Mimbreno and Apache Gileno united, they became the most feared groups of all the Indians. The Americans and Spaniards both did not want to get entangled into their raids of fury. This group of Indians killed more people during raids, stole more food, they were just plain out vicious Indians. The persistance of the tribe helped them make a name for themselves. The Spaniards during the Mexican w... ...ech on how honored he was to make peace with such great people, the confederates. â€Å"I am glad I have come. My heart if full of love for my pindah brothers†¦When I lie down at night the treaty will be in my heart, and when I arise in the morning it will still be there. And I will be glad I am at peace with my pindah brothers.† (Nicholas, 232) The Americans held this speech close to the hearts and they took him to his up most sincerity. On the way back from El Paso Nicholas ran off from the horses and group together his raiders. The Raiders and Nicholas rode to the Americans stock herd and stole it. They killed 2 Guards while doing so. The confederate Congress passed a law to kill all Indians spotted. Soldiers were to persuade the Apache to believe they made peace then once they had them they were to kill them. (Haley, 234) The Apache’s raiding helped keep the Americans on their toes. They flourished as a tribe despite the many different branches of them. Their aggressive behavior helped them become well known and never too weak under the rule of white men. Even though this tribe ended up with the other Indians in reservation camps, they still left a lasting impression on history. The Apaches Essay -- essays research papers Due to the educating of the Apaches and their persistence behavior, they flourished in the Great Plains region of the US. The American Indian Tribe first got their name "Apache" from the Yuma Indians. The word Apache means "fighting men". They were hunters, farmers and seed gatherers. The Apache were known for their love of Warfare and raiding, today we would call them thieves. When the Spaniards first came to the Americas they were constantly being under attack by the Apache. The Tribe would steal the Spanish horses and eat them. They were not yet introduced to the technology of using the horse as transportation. The Apache used their dogs to help move their wickiups or homes around because they were nomadic people. Wherever the buffalo went they followed. The horse began to become transportation and no longer a meal source once the Indians watching the Spaniards ride their horses. Since the Apache loved war so much it was a surprise that they let the Spaniards on their land. The fact was the Apache let them stay on the land so that they could keep raiding them for their supplies. The persistence of the Tribe helped them make a name for themselves. (Josephy, 117) The Spanish Police began to capture and make slaves out of all the Apache trying to raid the pueblo, or town. They tried to convert the Apache to Christianity but this did not prove successful. Even though the Apache liked to steal the Spaniards supplies they eventually signed a peace treaty. (Josephy, 373) When the Spaniards were fighting with the Americans in the Mexican war the Apache were a nuisance. The Spanish troops were so busy in this war that the Apache did not have enough supplies. So they were forced to disobey the peace treaty and steal for survival. The act of breaking the peace treaty sparked warfare.(Terrell, 148) There were many branches of the Apache Indians spread across the Great Plains. They began to unite and raid near by New Mexican towns. When the tribes Apache Mimbreno and Apache Gileno united, they became the most feared groups of all the Indians. The Americans and Spaniards both did not want to get entangled into their raids of fury. This group of Indians killed more people during raids, stole more food, they were just plain out vicious Indians. The persistance of the tribe helped them make a name for themselves. The Spaniards during the Mexican w... ...ech on how honored he was to make peace with such great people, the confederates. â€Å"I am glad I have come. My heart if full of love for my pindah brothers†¦When I lie down at night the treaty will be in my heart, and when I arise in the morning it will still be there. And I will be glad I am at peace with my pindah brothers.† (Nicholas, 232) The Americans held this speech close to the hearts and they took him to his up most sincerity. On the way back from El Paso Nicholas ran off from the horses and group together his raiders. The Raiders and Nicholas rode to the Americans stock herd and stole it. They killed 2 Guards while doing so. The confederate Congress passed a law to kill all Indians spotted. Soldiers were to persuade the Apache to believe they made peace then once they had them they were to kill them. (Haley, 234) The Apache’s raiding helped keep the Americans on their toes. They flourished as a tribe despite the many different branches of them. Their aggressive behavior helped them become well known and never too weak under the rule of white men. Even though this tribe ended up with the other Indians in reservation camps, they still left a lasting impression on history.

The Twilight Saga 2: New Moon EPILOGUE TREATY

ALMOST EVERYTHING WAS BACK TO NORMALTHE GOOD, pre-zombie normalin less time than I would have believed possible. The hospital welcomed Carlisle back with eager arms, not even bothering to conceal their delight that Esme had found life in L.A. so little to her liking. Thanks to the Calculus test I'd missed while abroad, Alice and Edward were in better to shape to graduate than I was at the moment. Suddenly, college was a priority (college was still plan B, on the off chance that Edward's offer swayed me from the post-graduation Carlisle option). Many deadlines had passed me by, but Edward had a new stack of applications for me to fill out every day. He'd already done the Harvard route, so it didn't bother him that, thanks to my procrastination, we might both end up at Peninsula Community College next year. Charlie was not happy with me, or speaking to Edward. But at least Edward was allowedduring my designated visiting hoursinside the house again. I just wasn't allowed out of it. School and work were the only exceptions, and the dreary, dull yellow walls of my classrooms had become oddly inviting to me of late. That had a lot to do with the person who sat in the desk beside me. Edward had resumed his schedule from the beginning of the year, which put him in most of my classes again. My behavior had been such last fall, after the Cullens' supposed move to L.A., that the seat beside me had never been filled. Even Mike, always eager to take any advantage, had kept a safe distance. With Edward back in place, it was almost as if the last eight months were just a disturbing nightmare. Almost, but not quite. There was the house arrest situation, for one thing. And for another, before the fall, I hadn't been best friends with Jacob Black. So, of course, I hadn't missed him then. I wasn't at liberty to go to La Push, and Jacob wasn't coming to see me. He wouldn't even answer my phone calls. I made these calls mostly at night, after Edward had been kicked outpromptly at nine by a grimly gleeful Charlieand before Edward snuck back through my window when Charlie was asleep. I chose that time to make my fruitless calls because I'd noticed that Edward made a certain face every time I mentioned Jacob's name. Sort of disapproving and wary maybe even angry. I guessed that he had some reciprocal prejudice against the werewolves, though he wasn't as vocal as Jacob had been about the â€Å"bloodsuckers.† So, I didn't mention Jacob much. With Edward near me, it was hard to think about unhappy thingseven my former besi fnend, who was probably very unhappy right now, due to me. When I did think of Jake, I always felt guilty for not thinking of him more. The fairy tale was back on. Prince returned, bad spell broken. I wasn't sure exactly what to do about the leftover, unresolved character. Where was his happily ever after? Weeks passed, and Jacob still wouldn't answer my calls. It started to become a constant worry. Like a dripping faucet in the back of my head that I couldn't shut off or ignore. Drip, drip, drip. Jacob, Jacob, Jacob. So, though I didn't mention Jacob much, sometimes my frustration and anxiety boiled over. â€Å"It's just plain rude!† I vented one Saturday afternoon when Edward picked me up from work. Being angry about things was easier than feeling guilty. â€Å"Downright insulting!† I'd varied my pattern, in hopes of a different response. I'd called Jake from work this time, only to get an unhelpfulBilly.Again. â€Å"Billy said he didn't want to talk to me,† I fumed, glaring at the rain oozing down the passenger window. â€Å"That he was there, and wouldn't walk three steps to get to the phone! Usually Billy just says he's out or busy or sleeping or something. I mean, it's not like I didn't know he was lying to me, but at least it was a polite way to handle it. I guess Billy hates me now, too. It's not fair!† â€Å"It's not you, Bella,† Edward said quietly. â€Å"Nobody hates you.† â€Å"Feels that way,† I muttered, folding my arms across my chest. It was no more than a stubborn gesture. There was no hole there nowI could barely remember the empty feeling anymore. â€Å"Jacob knows we're back, and I'm sure that he's ascertained that I'm with you,† Edward said. â€Å"He won't come anywhere near me. The enmity is rooted too deeply.† â€Å"That's stupid. He knows you're not like other vampires.† â€Å"There's still good reason to keep a safe distance.† I glared blindly out the windshield, seeing only Jacob's face, set in the bitter mask I hated. â€Å"Bella, we are what we are,† Edward said quietly. â€Å"I can control myself, but I doubt he can. He's very young. It would most likely turn into a fight, and I don't know if I could stop it before I k† he broke off, and then quickly continued. â€Å"Before I hurt him. You would be unhappy. I don't want that to happen.† I remembered what Jacob had said in the kitchen, hearing the words with perfect recall in his husky voice. I'm not sure that I'm even-tempered enough to handle that You probably wouldn't like it so much if I killed your friend. But he'd been able to handle it, that time â€Å"Edward Cullen,† I whispered. â€Å"Were you about to say ‘killed him? Were you?† He looked away from me, staring into the rain. In front of us, the red light I hadn't noticed turned green and he started forward again, driving very slowly. Not his usual way of driving. â€Å"I would try very hard not to do that,† Edward finally said. I stared at him with my mouth hanging open, but he continued to look straight ahead. We were paused at the corner stop sign. Abruptly, I remembered what had happened to Paris when Romeo came back. The stage directions were simple: They fight. Paris falls. But that was ridiculous. Impossible. â€Å"Well,† I said, and took a deep breath, shaking my head to dispel the words in my head. â€Å"Nothing like that is ever going to happen, so there's no reason to worry about it. And you know Charlie's staring at the clock right now. You'd better get me home before I get in more trouble for being late.† I turned my face up toward him, to smile halfheartedly. Every time I looked at his face, that impossibly perfect face, my heart pounded strong and healthy and very there in my chest. This time, the pounding raced ahead of its usual besotted pace. I recognized the expression on his statue-still face. â€Å"You're already in more trouble, Bella,† he whispered through unmoving lips. I slid closer, clutching his arm as I followed his gaze to see what he was seeing. I don't know what I expectedmaybe Victoria standing in the middle of the street, her flaming red hair blowing in the wind, or a line of tall black cloaks or a pack of angry werewolves. But I didn't see anything at all. â€Å"What? What is it?† He took a deep breath. â€Å"Charlie† â€Å"My dad?† I screeched. He looked down at me then, and his expression was calm enough to ease some of my panic. â€Å"Charlie is probably not going to kill you, but he's thinking about it,† he told me. He started to drive forward again, down my street, but he passed the house and parked by the edge of the trees. â€Å"What did I do?† I gasped. Edward glanced back at Charlie's house. I followed his gaze, and noticed for the first time what was parked in the driveway next to the cruiser. Shiny, bright red, impossible to miss. My motorcycle, flaunting itself in the driveway. Edward had said that Charlie was ready to kill me, so he must know thatthat it was mine. There was only one person who could be behind this treachery. â€Å"No!† I gasped. â€Å"Why? Why would Jacob do this to me?† The sting of betrayal washed through me. I had trusted Jacob implicitlytrusted him with every single secret I had. He was supposed to be my safe harborthe person I could always rely on. Of course things were strained right now, but I didn't think any of the underlying foundation had changed. I didn't think that was changeable! What had I done to deserve this? Charlie was going to be so madand worse than that, he was going to be hurt and worried. Didn't he have enough to deal with already? I would have never imagined that Jake could be so petty and just plain mean. Tears sprang, smarting, into my eyes, but they were not tears of sadness. I had been betrayed. I was suddenly so angry that my head throbbed like it was going to explode. â€Å"Is he still here?† I hissed. â€Å"Yes. He's waiting for us there.† Edward told me, nodding toward the slender path that divided the dark fringe of the forest in two. I jumped out of the car, launching myself toward the trees with my hands already balled into fists for the first punch. Why did Edward have to be so much faster than me? He caught me around the waist before I made the path. â€Å"Let me go! I'm going to murder him! Traitor!† I shouted the epithet toward the trees. â€Å"Charlie will hear you,† Edward warned me. â€Å"And once he gets you inside, he may brick over the doorway.† I glanced back at the house instinctively, and it seemed like the glossy red bike was all I could see. I was seeing red. My head throbbed again. â€Å"Just give me one round with Jacob, and then I'll deal with Charlie.† I struggled futilely to break free. â€Å"Jacob Black wants to see me. That's why he's still here.† That stopped me coldtook the fight right out of me. My hands went limp. They fight; Paris falls. I was furious, but not that furious. â€Å"Talk?† I asked. â€Å"More or less.† â€Å"How much more?† My voice shook. Edward smoothed my hair back from my face. â€Å"Don't worry, he's not here to fight me. He's acting as spokesperson for the pack.† â€Å"Oh.† Edward looked at the house again, then tightened his arm around my waist and pulled me toward the woods. â€Å"We should hurry. Charlie's getting impatient.† We didn't have to go far; Jacob waited just a short ways up the path. He lounged against a mossy tree trunk as he waited, his face hard and bitter, exactly the way I knew it would be. He looked at me, and then at Edward. Jacob's mouth stretched into a humorless sneer, and he shrugged away from the tree. He stood on the balls of his bare feet, leaning slightly forward, with his trembling hands clenched into fists. He looked bigger than the last time I'd seen him. Somehow, impossibly, he was still growing. He would tower over Edward, if they stood next to each other. But Edward stopped as soon as we saw him, leaving a wide space between us and Jacob. Edward turned his body, shifting me so that I was behind him. I leaned around him to stare at Jacobto accuse him with my eyes. I would have thought that seeing his resentful, cynical expression would only make me angrier. Instead, it reminded me of the last time I'd seen him, with tears in his eyes. My fury weakened, faltered, as I stared at Jacob. It had been so long since I'd seen himI hated that our reunion had to be like this. â€Å"Bella,† Jacob said as a greeting, nodding once toward me without looking away from Edward. â€Å"Why?† I whispered, trying to hide the sound of the lump in my throat. â€Å"How could you do this to me, Jacob?† The sneer vanished, but his face stayed hard and rigid. â€Å"It's for the best.† â€Å"What is that supposed to mean? Do you want Charlie to strangle me? Or did you want him to have a heart attack, like Harry? No matter how mad you are at me, how could you do this to him?† Jacob winced, and his eyebrows pulled together, but he didn't answer. â€Å"He didn't want to hurt anyonehe just wanted to get you grounded, so that you wouldn't be allowed to spend time with me,† Edward murmured, explaining the thoughts Jacob wouldn't say. Jacob's eyes sparked with hate as he glowered at Edward again. â€Å"Aw, Jake!† I groaned. â€Å"I'm already grounded! Why do you think I haven't been down to La Push to kick your butt for avoiding my phone calls?† Jacob's eyes flashed back to me, confused for the first time. â€Å"That's why?† he asked, and then locked his jaw, like he was sorry he'd said anything. â€Å"He thought I wouldn't let you, not Charlie,† Edward explained again. â€Å"Stop that,† Jacob snapped. Edward didn't answer. Jacob shuddered once, and then gritted his teeth as hard as his fists. â€Å"Bella wasn't exaggerating about your abilities,† he said through his teeth. â€Å"So you must already know why I'm here.† â€Å"Yes,† Edward agreed in a soft voice. â€Å"But, before you begin, I need to say something.† Jacob waited, clenching and unclenching his hands as he tried to control the shivers rolling down his arms. â€Å"Thank you,† Edward said, and his voice throbbed with the depth of his sincerity. â€Å"I will never be able to tell you how grateful I am. I will owe you for the rest of my existence.† Jacob stared at him blankly, his shudders stilled by surprise. He exchanged a quick glance with me, but my face was just as mystified. â€Å"For keeping Bella alive,† Edward clarified, his voice rough and fervent. â€Å"When I didn't.† â€Å"Edward,† I started to say, but he held one hand up, his eyes on Jacob. Understanding washed over Jacob's face before the hard mask returned. â€Å"I didn't do it for your benefit.† â€Å"I know. But that doesn't erase the gratitude I feel. I thought you should know. If there's ever anything in my power to do for you† Jacob raised one black brow. Edward shook his head. â€Å"That's not in my power.† â€Å"Whose, then?† Jacob growled. Edward looked down at me. â€Å"Hers. I'm a quick learner, Jacob Black, and I don't make the same mistake twice. I'm here until she orders me away.† I was immersed momentarily in his golden gaze. It wasn't hard to understand what I'd missed in the conversation. The only thing that Jacob would want from Edward would be his absence. â€Å"Never,† I whispered, still locked in Edward's eyes. Jacob made a gagging sound. I unwillingly broke free from Edward's gaze to frown at Jacob. â€Å"Was there something else you needed, Jacob? You wanted me in troublemission Accomplished. Charlie might just send me to military school. But that won't keep me away from Edward. There's nothing that can do that. What more do you want?† Jacob kept his eyes on Edward â€Å"I just needed to remind your bloodsucking friends of a few key points in the treaty they agreed to. The treaty chat is the only thing stopping me from ripping his throat out right this minute.† â€Å"We haven't forgotten,† Edward said at the same time that I demanded, â€Å"What key points?† Jacob still glowered at Edward, but he answered me. â€Å"The treaty is quite specific. If any of them bite a human, the truce is over. Bite, not kill,† he emphasized. Finally, he looked at me. His eyes were cold. It only took me a second to grasp the distinction, and then my face was as cold as his. â€Å"That's none of your business.† â€Å"The hell it† was all he managed to choke out. I didn't expect my hasty words to bring on such a strong response. Despite the warning he'd come to give, he must not have known. He must have thought the warning was just a precaution. He hadn't realizedor didn't want to believethat I had already made my choice. That I was really intending to become a member of the Cullen family. My answer sent Jacob into near convulsions. He pressed his fists hard against his temples, closing his eyes tight and curling in on himself as he tried to control the spasms. His face turned sallow green under the russet skin. â€Å"Jake? You okay?† I asked anxiously. I took a half-step toward him, then Edward caught me and yanked me back behind his own body. â€Å"Careful! He's not under control,† he warned me. But Jacob was already somewhat himself again; only his arms were shaking now. He scowled at Edward with pure hate. â€Å"Ugh. I would never hurt her.† Neither Edward or I missed the inflection, or the accusation it contained. A low hiss escaped Edward's lips. Jacob clenched his fists reflexively. â€Å"BELLA!† Charlie's roar echoed from the direction of the house. â€Å"YOU GET IN THIS HOUSE THIS INSTANT!† All of us froze, listening to the silence that followed. I was the first to speak; my voice trembled. â€Å"Crap.† Jacob's furious expression faltered. â€Å"I am sorry about that,† he muttered. â€Å"I had to do what I couldI had to try† â€Å"Thanks.† The tremor in my voice ruined the sarcasm. I stared up the path, half-expecting Charlie to come barreling through the wet ferns like an enraged bull. I would be the red flag in that scenario. â€Å"Just one more thing,† Edward said to me, and then he looked at Jacob. â€Å"We've found no trace of Victoria on our side of the linehave you?† He knew the answer as soon as Jacob thought it, but Jacob spoke the answer anyway. â€Å"Trie last time was while Bella was away. We let her think she was slipping throughwe were tightening the circle, getting ready to ambush her† Ice shot down my spine. â€Å"But then she took off like a bat out of hell. Near as we can tell, she caught your little female's scent and bailed. She hasn't come near our lands since.† Edward nodded. â€Å"When she comes back, she's not your problem anymore. We'll† â€Å"She killed on our turf,† Jacob hissed. â€Å"She's ours!† â€Å"No,† I began to protest both declarations. â€Å"BELLA! I SEE HIS CAR AND I KNOW YOU'RE OUT THERE! IF YOU AREN'T INSIDE THIS HOUSE IN ONE MINUTE !† Charlie didn't bother to finish his threat. â€Å"Let's go,† Edward said. I looked back at Jacob, torn. Would I see him again? â€Å"Sorry,† he whispered so low that I had to read his lips to understand. ‘†Bye, Bells.† â€Å"You promised,† I reminded him desperately. â€Å"Still friends, right?† Jacob shook his head slowly, and the lump in my throat nearly strangled me. â€Å"You know how hard I've tried to keep that promise, but I can't see how to keep trying. Not now† He struggled to keep his hard mask in place, but it wavered, and then disappeared. â€Å"Miss you,† he mouthed. One of his hands reached toward me, his fingers outstretched, like he wished they were long enough to cross the distance between us. â€Å"Me, too,† I choked out. My hand reached toward his across the wide space. Like we were connected, the echo of his pain twisted inside me. His pain, my pain. â€Å"Jake† I took a step toward him. I wanted to wrap my arms around his waist and erase the expression of misery on his face. Edward pulled me back again, his arms restraining instead of defending. â€Å"It's okay,† I promised him, looking up to read his face with trust in my eyes. He would understand. His eyes were unreadable, his face expressionless. Cold. â€Å"No, it's not.† â€Å"Let her go,† Jacob snarled, furious again. â€Å"She wants to!† He took two long strides forward. A glint of anticipation flashed in his eyes. His chest seemed to swell as it shuddered. Edward pushed me behind himself, wheeling to face Jacob. â€Å"No! Edward!† â€Å"ISABELLA SWAN!† â€Å"Come on! Charlie's mad!† My voice was panicked, but not because of Charlie now. â€Å"Hurry!† I tugged on him and he relaxed a little. He pulled me back slowly, always keeping his eyes on Jacob as we retreated. Jacob watched us with a dark scowl on his bitter face. The anticipation drained from his eyes, and then, just before the forest came between us, his face suddenly crumpled in pain. I knew that last glimpse of his face would haunt me until I saw him smile again. And right there I vowed that I would see him smile, and soon. I would find a way to keep my friend. Edward kept his arm tight around my waist, holding me close. That was the only thing that held the tears inside my eyes. I had some serious problems. My best friend counted me with his enemies. Victoria was still on the loose, putting everyone I loved in danger. If I didn't become a vampire soon, the Volturi would kill me. And now it seemed that if I did, the Quileute werewolves would try to do the job themselvesalong with trying to kill my future family. I didn't think they had any chance really, but would my best friend get himself killed in the attempt? Very serious problems. So why did they all suddenly seem insignificant when we broke through the last of the trees and I caught sight of the expression on Charlie's purple face? Edward squeezed me gently. â€Å"I'm here.† I drew in a deep breath. That was true. Edward was here, with his arms around me. I could face anything as long as that was true. I squared my shoulders and walked forward to meet my fate, with my destiny solidly at my side.

The Slave Ship And Impression Sunrise Two Masterpieces Of...

The Slave Ship and Impression Sunrise two masterpieces of Art History Olen Henderson C100 December 1,2016 Course Mentor Group Turner s The Slave Ship, in addition to Monet’s Impression Sunrise, each collectively are a couple of masterpieces of the nineteenth century that examine the interpretation of colors in addition to motion. They may be intricate works that can be both identified as the face of artistic techniques; The Slave Ship is widely seen as a Romantic portrait becoming an outstanding illustration for the Sublime revolution, while on the other hand, Impression Sunrise is the earliest portrait recognized in the Impressionist age. Both styles are revolutionary artworks with approaches that a majority of individuals had never examined before. Although the artworks comprise of numerous things in common, both are specifically different from each other. Turner is identified as being a Romantic who desired to depict fictional in addition to nonfictional artwork. The Slave Ship was not a straightforward portrait to create a ship at sea, but nevertheless, the approach as well as the time that immortalized a perception in the historical past that encapsulates man s commitment of inhumanity. The Slave Ship signifies a spot in time in our past where a captain made the decision to hurl overboard slaves which had been dead in addition to dying to claim that the shipmates were lost while at sea. Turner established a portrait that is not basically spectacular but inShow MoreRelatedDeveloping Management Skills404131 Words   |  1617 PagesLeale Senior Production Project Manager: Kelly Warsak Senior Operations Supervisor: Arnold Vila Operations Specialist: Ilene Kahn Senior Art Director: Janet Slowik Interior Design: Suzanne Duda and Michael Fruhbeis Permissions Project Manager: Shannon Barbe Manager, Cover Visual Research Permissions: Karen Sanatar Manager Central Design: Jayne Conte Cover Art: Getty Images, Inc. Cover Design: Suzanne Duda Lead Media Project Manager: Denise Vaughn Full-Service Project Management: Sharon Anderson/BookMasters

Review of Top Grammar-Checking Software

Like everything related to computers and smartphones, grammar-checking software has improved over the last 10 years. However, it still needs be used in an appropriate manner. The software should not be a substitute for your own knowledge of English grammar, but rather a check on it that highlights possible errors. There are two reasons for not solely relying on grammar-checking software. First, it still makes mistakes. The grammar-checker in Microsoft Word, for example, continually tells me I should use â€Å"it’s† instead of â€Å"its†, and vice versa, in cases where the software is clearly in error. Second, English is a rich language and often there are different ways of saying the same thing, usually with slightly different meanings. For example, the Microsoft Word grammar checker continually harasses me when I use the passive voice. While routine use of the passive voice is undesirable, there are times when it is appropriate. For example, if the actor of a sentence is unknown, then the passive voice is usually more efficient and effective. Nevertheless, even the best humans make mistakes, so there is role for grammar checkers to play in writing today. Top Grammar-Checking Software Below is a review of some of the top programs. The list is alphabetical because user preference is often based on subjective features. However, rest assured that these programs are some of the best, with any pros and cons discussed as applicable. CorrectEnglish does a solid job of checking grammar. In testing, it has been found to have problems correctly identifying run-on sentences and pronoun agreement. However, at a cost of $120, it seems to have one deal breaker, at least for some users—it requires continuous connection to the Internet. Grammar Expert Plus has the benefit of mirroring Microsoft Word’s grammar function, so if you use Microsoft’s word processor, there won’t be much of a learning curve. It costs about half ($60) as much as some of its competitors, but has also been found to occasionally miss subject-verb agreement and incorrect suggestions for correction. Grammarly is a top-notch grammar-checking program. It also has two features that many users will find valuable. Not only does the software program indicate grammatical errors, it highlights writing that although technically correct, could be better. It also has a grading function that grades the grammar of your writing. The intent is that you can check your grades over time to see if the writing has improved. Drawbacks include cost (about $140) and lack of compatibility with the Mac version of Microsoft Office. PaperRater is a free online tool that does a decent job checking grammar. It also has a couple of additional useful features. First, it checks title to make sure they make sense and are concise like titles should be. It also has a plagiarism checker, which has improved over the last year, after a bumpy start. WhiteSmoke excels at basic grammar coverage but also checks grammar of the language in the context in which it is written. It’s also simple to use—all the user does is hit the F2 key to analyze the text of his/her document. Drawbacks include the cost ($80-$120) and lack of plagiarism monitor. Writer’s Workbench has top-notch grammar-checking capability, but stands out because it gives lucid but detailed explanations for the grammatical errors it has found. Furthermore, the intent of the software seems to be to help the writer improve with time, not just to relay on automatic acceptance of the program’s recommendations. There are few minor issues. The software only works with Microsoft Word, it takes some time to get comfortable with the interface, and is expensive ($120). Grammar-checking software these days not only reviews grammar, but many programs also help improve writing and check for plagiarism. Nevertheless, a writer’s best tool for flawless grammar is a thorough understanding of it.

The Civil War Essay - 3736 Words

The Civil War In this meeting of the Southern Historical Association great emphasis has been placed upon a re-examination of numerous phases of our history relating to the Civil War. While several papers have dealt with certain forces which helped bring about the Civil War, none has attempted a general synthesis of causes. This synthesis has been the task assumed by the retiring president of the Association. Before attempting to say what were the causes of the American Civil War, first let me say what were not the causes of this war. Perhaps the most beautiful, the most poetic, the most eloquent statement of what the Civil War was not fought for is Lincolns Gettysburg Address. That address will live as long as Americans retain their†¦show more content†¦A systematic study of both northern and southern opinion as expressed in their newspapers, speeches, diaries, and private letters, gives irrefutable evidence in support of this assertion. Their ideology was democratic and identical. However, theoretical adherence to the democratic principles, as veil we know all too well in these days of plutocratic influences in our political life, is not sufficient evidence that democratic government exists. I believe that I shall not be challenged in the assertion that the economic structure of a section or a nation is the foundation upon which its political structure must rest. For this reaso n, therefore, it will be necessary to know what the economic foundations of these sections were. Was the economic structure of the North such as to support a political democracy in fact as well as in form? And was the economic structure of the South such as to permit the existence of free government? Time does not permit an extended treatment of this subject; it will be possible only to point out certain conclusions based upon recent research. By utilizing the county tax books and the unpublished census reports a group of us conducting a cooperative undertaking have been able to obtain a reasonably accurate and specific picture of wealth structure of the antebellum South, and to some extent that of the other sections. We have paid particularShow MoreRelatedThe War Of The Civil War921 Words   |  4 PagesThere are no doubts that acts of war can have a negative impact on the individuals involved. There are countless stories of the soldiers’ experiences in the war, and how it affected their lives, families, and attitudes. However, there is a large demographic that is hardly accounted for: children, specifically during the Civil War era. Understanding the children that lived in the time of the Civil War is important because it affected their future careers, shaped their attitudes towards race, and affectedRead MoreCivil War And A Revolution1196 Words   |  5 Pagesthat a civil war is going on there. 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In the four deadly years of war, over six-hundred thousand Americans were killed. Many disputes that led to the civil war. These conflicts started under President James Buchanan who was a Democrat elected in the election of 1856. The issue of slavery, states’ rights, the abolitionist movement, the Southern secession, the raid on Harper’s Ferry, the election of Abraham Lincoln all contributed to the start of the civil war. The civil warRead MoreThe War Of The Civil War1284 Words   |  6 PagesEnglish 30 January 2015 The Civil War There are many facts most people generally do not know about the Civil War, so much research is needed to improve one’s knowledge about the Civil War. Authors such as: Robert G. Lambert, Rustle B. Olwell, and Kay A. Chick were all helpful in this research. Many people think that everyone on the Union side of the war believed that blacks should be equal to whites. Most people also think that everyone on the Confederate side of the war believed in slavery. SomeRead MoreThe War Of The Civil War Essay1444 Words   |  6 PagesThe story of this outlaw originated during the Civil War years, April 12,1861-May 9, 1865. The War were the rich sat and watched, while the poor died. A War that wanted to keep black people as slaves permanently by the South (Confederates). Newton Knight quickly grew unhappy with the situation that the people of Jones County, where he was originally from were in. He also did not approved of slavery at all. Newt was the Outlaw who freed Jones County s people, whites and blacks alike when they mostRead MoreThe War Of The Civil War1723 Words   |  7 PagesThe Civil War is by far the bloodiest war in American history. In the four deadly years of war, over six-hundred thousand Americans were killed. Many disputes that led to the civil war. These conflicts started even before the presidency of James Buchanan, who was a Democrat elected in the election of 1856. The issue of slavery, states’ rights, the abolitionist movement, the Southern secession, the raid on Harper’s Ferry, the election of Abraham Lincoln all contributed to the start of the Civil War

Documentary Aspects on Kieslowski Fiction Free Essays

Winter 2012-13 – Free written home-assignments (To be uploaded to Absalon – 1 copy only). (Uploades til Absalon i et eksemplar) Navn (Name) Katarzyna Inez Dawczyk Studienummer (Student ID) qtw401 Telefon (Telephone) 27632783 e-post (e-mail) k. inez. We will write a custom essay sample on Documentary Aspects on Kieslowski Fiction or any similar topic only for you Order Now dawczyk@gmail. com Ved gruppeopgave anfores ovrige navne (Names of other participants in group essays) Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ If the information concerning length below is not filled in correctly, the assignment will be rejected and you will be graded as a †no show†. ANTAL NORMALSIDER: 25 (Number of standard pages of 2400 keystrokes) ANTAL TYPEENHEDER: 60 178 (Total number of keystrokes, including spaces and notes but not cover pages, bibliographies and appendices). OMFANG AF OPGAVER: L? ngden af en opgave er en del af opgaven – hverken for lange eller for korte opgaver accepteres. LENGTH OF THE ASSIGNMENT: Neither too long nor too short assignments are acceptable. S? T KRYDS (Mark) S? T KRYDS: (just Danish students) Individuel opgave X (Individual essay) Intern censor__________ se i studieordningen) Gruppeopgave _________ (Group essay) Ekstern censor X (se i studieordningen) Studieelement/Modul (Study Element/Module) 47790313-01/ Module 3 (f. eks. 47790316 Modul 4: Skriftlig formidling) Emne (Subject) : Between Documentary and Fiction (f. eks. Japansk Film) Er opgaven fortrolig (s? t kryds) JA___ (Is the essay confidential? ) (mark) Studieordning (s? t kryds): (Curriculum) (mark) : NEJ X (Yes) EKSAMINATOR: Arild Fetveit (Examiner) (No) __ Anden studieordning: _________________________ __Gymnasierettet Kandidattilvalg 2008-ordningen __Grundudd. i Film- og Medievidenskab 2005 – eller 2012__ __BA-tilvalg i Medier og Kultur, Tv? Hum. 2007 __Gymnasierettet tilvalg i Film- og medievidenskab 2007 __Enkeltstaende tilvalg i Film- og Medievidenskab 2007 (Curriculum for Elective Studies in Film and Media Studies 2007) __Kandidatuddannelsen i Filmvidenskab 2008 (Curriculum for the Master’s Programme in Film Studies) x__Kandidatuddannelsen I Medievidenskab 2008 (Curriculum for the Master’s Programme in Media Studies) __Master i Cross Media Commun ication __Tv? rhumanistisk Tilvalgsfag i Digital Kommunikation og ? stetik 2007 Dato og ar 1. 01. 013 Date and year DOCUMENTARY ASPECTS ON KIESLOWSKI? S FICTION ABSTRACT This paper examines different concepts of documentary and the influence of documentary dispositions on Kieslowski? s fiction that might be found by analysing his selected feature films. Different definitions of documentary in cinema created by various critics and cinematographers will guide the discussions of the ways in which Kieslowski comments on filmmaking, particularly how his fiction might carry the echo of reality which is recorded by documentaries. The paper is an attempt of describing the pattern, where realism is a dominant factor that might create an illusion of reality. This project is important to provide the theory about documentary aspects on Kieslowski? s fiction in order to find similarities and connections between two genres of film that are on the opposite poles. The study provides the unit of analysis about which the information were collected in order to create an understanding of the context. The assignment has got theoretical dimension and analyses. KEYWORDS: documentary, fiction, film studies, Kieslowski, realism, representation Before starting evaluate documentary as a form of film, it is necessary to replay on fundamental questions: what is a film? ; and how film can be understand? The elementary definition of film says that film is a story or event recorded by a camera as a set of moving images and shown in a cinema or on television. †1 Furthermore, it is a medium and an art and a very complex technology undertaking . 2 Film belongs both to recording media and representative media. The spectrum of film looks like: -the performance art, which happen in real time -the representational art, which depends on the established codes and conventions of language – the recording art, which provides a more direct path between subject and observer: media not without their own codes but qualitatively more direct than the media of representational arts. 3 1 2 www. oxforddictionaries. com James Monaco, â€Å" How to read a film†, 3rd Edition, Oxford University Press, 2000, p. 17 3 Inbid. ,p. 27 Every film contains a range of various messages, which are not always apparent. However, by analysing film, messages can be discovered. Film makes absence presence. Moreover, the special techniques of film-the concentrated close-up-and the special qualities of film projection, make intimate experience of face as the sole, cause impression of living reality. 4 DOCUMENTARY John Grierson, a father of documentary used the phrase â€Å"documentary value† in reviewing Robert Flaherty? s â€Å"Moana† in 1926 for a New York newspaper. It was the first occasion on which the word â€Å"documentary† was applied in English language, to this specific kind of film. In English language, the adjective â€Å"documentary† was invited quite late as in 1802 with the modern meaning of its source word â€Å"document† as something written, which carry evidence or information. The contemporary use of â€Å"document† still carries the connotation of evidence. Besides, from the beginning of documentary, a photograph was received as a document and therefore as an evidence. 6 Documentary film has begun in the last years of the IXX century. It seems that, its beginning had many faces, as for some scholars the first documentary was â€Å" Nanook of the North† (1922) about Eskimo life ; some claimed that it was Joris Ivens? â€Å" Rain† ( 1929) a story about a rainy day; for another â€Å" Man with a Movie Camera† (1929) made by Dziga Vertov. 7 So what is a documentary then? A simple answer might be that is a movie about real life. However, it sounds to be too simplified, as there is not such a real life, as a camera can see just a part of real, just a small piece. Irritating are arguments that the camera is a window of world. On which worldthe question is rising? The camera can see just a part of the world, the part of real, the part of life. As a result, it could be said, that documentary movie does its best to represent a part of real life and it does not manipulate about it. 4 Philp Simpson, Andrew Uttern and K. J. Shepherdson, â€Å"Film Theory. Critical Concepts in Media and Cultural Studies†, Routledge, London, 2004, p. 70 5 Brian Winston, â€Å"Claiming the real. The Griersonian Documentary and Its Legitimations†, British Film Institute, 1995, p. 8 6 Inbid, p. 11 7 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Patricia Aufderheide, Oxford University Press, New Your 2007, p. In other words, it could be said that â€Å"documentary is defined and redefined over the course of time, both by makers and by viewers. Viewers certainly shape the meaning of any documentary, by combing our own knowledge of and interest in the world with how film-maker shows it to us. †8 From another point of view, Plantiga claims that documentar ies are moving picture texts of affairs represented in the world hold in actual world. Sobchack claims that documentary is a subjective relationship to a cinematic object. Patricia Aufderheide arguments in documentaries, â€Å"we expect to be told things about the real world, things that are true (†¦) we expect that a documentary will be a fair and honest representation of somebody? s experience of reality†. 9 Additionally, she points out â€Å"the truthfulness, accuracy, and trustworthiness of documentaries are important to us all because we value them precisely uniquely for these qualities. † 10 According to Eric Barnouw â€Å"some documentaries claim to be objective-a term that seems to renounce an interpretative role. The claim may be strategic, but it is surely meaningless. The documentarist, like any communicator in any medium, makes endless choices. He selects topics, people, angels, lens (†¦). Each selection is an expression of his point of view. †11 John Grierson defined documentary as the â€Å"autistic representation of actuality† 12, additionally as â€Å"the creative treatment of actuality†. 13 It seems that, by using the term â€Å"creative treatment†, he meant that the documentary go beyond simple recording of reality, as documentary is fulfilled by sort of material creatively. It could be said that, documentary is based an authentic recordings with realist tendency, construct on fascination with a visible evidence. The evident share about the discussion of documentary has got Bill Nichols. He arguments that the documentary tradition relies on being able to conduct the impression of reality, â€Å"(†¦ ) a powerful impression. It began with the raw cinematic image and the appearance of movement: no matter how poor the image and how different from the thing photographed, the appearance of movement remained indistinguishable from actual movement. 14 Nichols claims, filmmakers often use in documentary modes of representation, in aim to make questions that are directly depend on historical world, narrative has existed in every known human 8 9 Inbid. ,. 2 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Oxford University Press, New Yor k, 2007, p. 3 10 Inbid. , p. 4 11 Stella Bruzzi ,â€Å" Introduction† in â€Å" New Documentary. A Critical Introduction†, Routledge, London, 2000, p. 4 12 Patricia Aufderheide , â€Å"Defining the Documentary† in â€Å"Documentary Film . A very short introduction †, Oxford University Press, New York, 2007, p. 3 13 Brian Winston,â€Å" Claiming the real. The Griersonian Documentary and Its Legitimations†, British Film Institute 1995, p. 11 14 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. XIII society. 15Moreover, Nichols offers the theory that describes every film as documentary. Even the most fantastic fiction, as it gives evidence of the culture that is reproduced of the people who perform within. As well, he divides documentaries on two kinds: (1) documentaries of wish- fulfilment nd (2) documentaries of social representation. 16 Documentaries of wish- fulfilment are on the shape of fictions, that give expression of people? s dreams and wishes and a sense what people wish, or fear, reality might be or might become. And documentaries of social representation are non-fiction that make the stuff of social reality visible and give representation to aspects of the shared world. Moreover, they deliver a sense of what might be understand as reality, of what is now, or what might become. Documentaries of social representation offer ideas on common world to explore and understand it. Documentaries offer the sensuous experience of sounds and images organized in such a way, they come to stand for something more than mere passing impressions: they come to stand for qualities and concepts of a more abstract nature. †17 15 16 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 1 17 Inbod. , p. 65 According to Nichols, every documentary has its own distinct voice that has got a style. In order to analyse those styles, he provides a typology that enables various modes of documentary. He identified six modes of representation that function as like sub-genres of the documentary as genre itself. These six modes are: the expository mode- emphasizes verbal commentary and argumentative logic, has got more rhetorical and argumentative frame, addresses the viewer directly often with a narrator-voice over commentary (a voice of God, voice of authority) the poetic mode- is more subjective with artistic expression that moves away from objective reality of a given subject, situation or people to take at inner â€Å" truth† can be possessed by poetical manipulation, characters are with psychological complexity he observational mode- coming close as it possible to objective reality, observation of what happens in front of camera and recording it, the filmmakers takes a position of observer and makes impression of not intruding on the behaviour of characters the participatory mode- direct engagement between a filmmaker and subject, the filmmaker becomes a part of the rec orded event using the methods of anthropology of going into the field the reflexive mode- increases awareness of the sample of representation in film that shows not just historical world, but also the problems and issues that call into questions. It is the most selfconscious and self-questioning mode of representation the performative mode- direct engagement between a filmmaker and subject, the filmmaker as a participant Presented above modes are well knew in a documentary discussion. However, the critic with Stella Bruzzi towards them, it seems to be well argumentative. She criticises Nichols for suggesting that filmmakers doing documentaries, aim for the ‘perfect representation of the real? and that would fail in this impossible aim as all types of documenters exist at different time. Moreover, his typology of modes seems to be quite weak, cause documentaries very often has got mixed styles of modes. There is not such a one mode for one movie. As the result, the question of necessity labelling documentary on modes, arises. Documentary might be also defined as an organised arrangement of images that construct metaphors. Metaphors in movies help in defining and understanding matters in terms how they look or feel with involvement in physical and experiential encounter. Metaphors draw on basic structures of personal experiences to assign values to social concepts. The selection and arrangement of sounds and images are sensuous and real; they provide an immediate form of audible and visual experience, but they also become trough their organization into larger whole, a metaphorical representation of what something in the historical world is like. † 18 Types of Kieslowski? s documentaries psychological portraits In a documentary film about himself â€Å" I`m so-s o†, Kieslowski admits that his early films, were made in order to get a common portrait of Polish mental condition. In â€Å"From the City of Lodz†, he presented people and their sad faces with a dramatic expression in their eyes in order to portray the reality of this city. Lodz is presented as a grey mass of ruins with its citizens lacking of vitality. He shows a factory and an old women who is going to retiring, however she says she would like to continue the work, but she cannot; workers who complain about a lack of support for their orchestra, in streets some men who seems to wander aimlessly. Another movie within psychological portrait is â€Å"The Railway Station†. A movie begins with television news broadcast â€Å"Nasz Dziennik† about production figures on the rise. The presented news is on the contrast to the sad and stony faces of people who are waiting in the station. There is a picture of a slice of Polish reality with so many trains delayed and cancel with not much care about passengers. Crucial is a detail of a camera at the station, with its reference to communist system which seems to be this camera-eye. recording metaphors Kieslowski interest in metaphor, appears also in his documentaries. For example in the one called â€Å"The Office† ( 1966) that deals with intimate burdens in an impersonal routine manner office. In an insurance office in spite of dialogue, there is not people? s lips moving. The emphasis is on what kind of rubber stamps are needed on form. A clerk acts impersonal. The movie is not just a 18 Bill Nichols,â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 74 picture on bureaucracy, but clearly stands for the whole communist system. Especially the last scene which shows a room filled with documents about everyone. The last scene might be used as a clear metaphor for communist system, where everyone was checked and a state tried to know everything, what a single man did. The communist system seemed to be as this office, an executor of strict control. Another metaphor on society, he used in a documentary â€Å"Factory†, where in close-up shots, he presents the disproportion between the workers and those in power. Also the movie shows the Poland? s economic limitations that time when factory was lacking equipment due to bureaucracy. Personal stories In â€Å"I was a Soldier he interviews 7 men who lost their sight during the war. In this simple story the characters sit and talk about their feelings, in close up shots. Every scene ends by fading to white. Although, the movie ends by fading to black that might be seen as deliver of personal ant-war message. It seems to, be one of the most powerful documentaries, not only for a subject that men presented in movie are blinded during military service in World War II. It is powerful for its understated treatment. The war is a subject of blame of movie? s anti-war expression. The next documentary, where Kieslowski uses the same technique of interviewing people is movie called â€Å"Talking Heads†, which serves also his interest in human faces. In the movie, he interviews 40 people (he begins with a toddler and ends with a 100 years old women), asking them few elementary questions: Who you are? , Where were you born? , What matters most for you? It seems that, the majority of people sound quite idealistic and overwhelmingly democratic. However, the irony punches a line in a replay of 100-year old women who just simply wishes to live longer. It could be said that the ethnics of Kieslowski? s documentary are based on respect for a single character. He tried to interfere as less as possible in order to respect his character? s privacy. To achieve it, he applied various methods of implementation as like: the documentary observation or interviews. REALSIM- RECORDED PATERN BY DOCUMENTARY Realism is a contentious field of debates across scholars of philosophy, social science, and aesthetics in on-going dialogue about the role of representation: in fine art as like photojournalism for example, and written forms as reports or autobiographies. It would seem that, there are two tendencies in realism. The one extensive tendency goes into some material aspect of the physical or social world, the other intensive that penetrates further into the recesses of the soul. 19 The term â€Å"realism† came to cinema from literary and art movement of the IXX century and went against the solid tradition of classical idealism in order to portray the life as it â€Å"really† is. The focus was on ordinary life, indeed the lives of socially deprived people. It seems that, questions of realism in the art came before the discovery of the cinematographic process by brothers Lumiere. The creation of photography brought about realism many different assumptions, precisely about possibilities of realistic representation on pictures. Fox Talbot, one of the precursors of photography, reminisces about seeing in a camera obscura â€Å" the inimitable beauty of the pictures of nature? s painting† (†¦) It could be said that, Talbot uses the phrases â€Å" nature? s painting† and â€Å" natural images† in order to refer the invention derived from earlier observations. Later â€Å" natural images† were patented by Daguerre that could bring out in daguerreotype photographs â€Å"One positive view held photography to be a medium of absolute truth; the negative estimation saw demonic powers at work in this strange apparatus. Both views are closely connected: one is merely the flipside of the other. Both are alike in that they view the outcome of any daguerreotype to be completely independent of human agency. † 20 The important pattern is perhaps, the world â€Å" truth† that is used to describe a photographic image. There is a tendency for perceiving photographic images as displaying something about truth and real word. And film shares with moving photography as a part of its most obvious technical process. Watching those moving pictures make in people feelings different than watching paintings on the grounds of reproducing reality. Somehow, photography and film have a special place in the debate of realism. Williams claims that film â€Å"combines elements drawn from pre-existing forms of still photography, painting, the novel (†¦) and the theatre, and all welded together on a specific technological base. 21 Realism in cinema might mean different things. There are various ways of defining and exploring 19 20 Arthur McDowall, â€Å" Realism. A Study in art and thought†, E. P. Dutton Company, New York 1852, p. 24 http://home. foni. net/~vhummel/Hawthorne/hawthorne_1. 3. html 21 Christopher Williams,â€Å" Realism and the Cinema†, A Reader, London: Routledge 1980, p. 2 cinemati c realism in debates. Cinema Verite filmmakers perhaps hope to produce something that is more or less â€Å"true to nature†. Jean-Luc Goddard comments that cinema is not the reflection of reality, but the reality of the reflection. Andre Bazin considers that in order to be realistic, a film must be located its characters and action in historical and social setting. It also worth mentioning that Grierson founded in British documentary movement, three basic principles: -a documentary should photograph the living scene and the living story – it should use original actors and scenes -â€Å"the materials and stories thus taken from the raw can be finer than the created article† 22 Allied to the more formal concept of realism is the notion of truth telling. Realism seems to be obliged to represent social reality and make sense of this realty. Jakobsen discusses five ways to make sense of realism: – – – – Realism can be an artistic aim, the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques ( customs of spending time on actions) Realism is defined by the way it motivates style or narrative 23 It could be said, the steam of realism was adapted to cinema well, as camera seems to be natural tool for realism as it reproduces what is there, in the physical environment. Cinema makes absence of presence and puts reality up on the screen. Besides, cinema might be an attempt to present a direct and truthful view of real world through its presentation of the character and environment of realm functions in film both on the narrative level and the pictorial and photographic level. Through the narrative structures, physical realism goes into psychological one to address social issues. Scholars, Lapsley, Westlake and Williams divide two types of realism with regard to film: the first one with ideological function that concealment the illusion of realism and the second one with naturalizing function that attempts to use a camera in a non-manipulative way. However, Andre Bazin supports conversely ideas. Bazin? s argument illustrates that realist discourses not only 22 23 Inbod. , p. 17 Anne Jerslev,â€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 suppress certain truth, but also produce other truth. The realist aesthetics recognise the reality-effect produced by cinematic technique in such a way that provides a space for the audience to read the message for themselves. The critical approach to realism in film studies is briefed by two strands of thought, both with roots in formalist conceptions about how film texts which are arranged on abilities to comprehended artistic products. One strand espouses debates in which realist films are departing from the codes and conventions of film practice as like commercial film practice and mainstreams. Another one is modulate by ideological approaches, which treat all mainstream film texts as versions of the classic realist texts which developed in the XIX century novels. 24 According to these approaches, realism cannot be confined to a particular style of representation as is contingent, in alternation. Important was the development of photography made painting become obsolete, changed the impressionistic mimesis by the empirical objectivity of the photographic image. From the other side, in literature, the early realists called themselves as careful painters of human life, asserting that `art always aims to represent reality?. 5 Although, George Eliot, the realist writer Adam Bede ( in chapter 17) demonstrated her appreciation of difficulty, in particular, how a writer is able to translate the truth into words? Writers took different positions on realism. Guy Maupassant suggests that realists are illusionists, but Henry James favours of terms as impression of life and air reality . In film studies, the post- structuralism position on realism is presented by Collin MacCabe in his well know essay called â€Å"Realism and the cinema: notes on some Brechtian theses†. MacCabe argues in some conventional documentary films, there is metalanguage in the form of voce over narration which provide different versions of reality presented by numerous voices in order to perform a truth-telling function. 26In turn, he claims that fiction film is similarly structured, just with images taking precedence over words. The photographs show to the spectator what happens; the camera provides the metalanguage by situating the spectator within the fictional narration of the film. He also argues that the truth of the situation is created by the images: we as an audience believe what we see rather than what we are told about. In contrast, Bazin advocates a realist cinema that upholds the freedom for spectators to choose their own interpretations of an object, narrator and story. This concept of realism respects 24 25 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 200, p. 4 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 200, p. 4 26 Inbid, p. 11 perceptual time and space, advocating depth of field and the long take techniques which seem to be at the level of recording as they take place. However, he also adds that just techniques cannot guarantee that a realistic cinema will be a result from its use. 27 Jakobsen discusses five ways to make sense of realism: Realism can be an artistic aim the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques (customs of spending time on actions) Realism is defined by the way it motivates style or narrative 28 REALITY CAPTURED BY KIESLOWSKI? s CAMERA It could be said that, for some â€Å"the real is the same thing as the true. Others describe reality to what exists or happens in the surrounding physical world and at the heart of realism, in all its variations seems to be the sense of actual existence, an acute awareness of it, and a vision of things under that form. 29 Descrates with his theme,† I think, therefore I am†; began the first of many attempts in order to explain reality in terms of mind. Pascal said, man is but a reed, yet he is a thinking reed. 0 â€Å"The reality represented in film is constituted by the so-called represented objects. †31 Plesnar writes that the represented reality of film consists in four ontological levels. The first level comprises represented events-individuals. The second level consists of represented things, which depend on represented events; the third level is designed for represented process and the fourth for strictly relative cat egories. As cohesion to his four levels, the represented reality in film must be defined as a set of all represented events. Slavoj Zizek presents â€Å"Kieslowski? s starting point was the same as all cineastes in the socialist countries: the conspicuous gap between the drab social reality and the optimistic, bright image which pervaded the heavily censored media. The first reaction to the fact, in Poland, social 27 28 Inbid, p. 15 Anne Jerslevâ€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 29 Arthur McDowallâ€Å"Realism. A Study in art and thought†, E. P. Dutton Company, New York 1852, p. 3 30 Inbid, p. 5 31 Lukasz Plesnar â€Å" Represented Space in film† in â€Å" The Jagiellonian University Film Studies†, Wieslaw Godzic, Universitas Krakow 1996, p. 77 reality was unrepresented, as Kieslowski put it, was, of course, the move towards a more adequate representation of real life in all its drabness and ambiguity-in short, an authentic documentary approach. †32 In the interview with Danuta Stok, Kieslowski says: â€Å"At that time, I was interested in everything that could be described by the documentary film camera. There was a necessity, a needwhich was very exciting for us-to describe the world. The communist world had described how it should be and not how it really was. We-there were a lot of us-tired to describe this world and it was fascinating to describe something which had not been described yet. It is a feeling of bringing something to life, because it is a bit like that. If something has not been described then it does not officially exist. So that if we start describing it, we bring if to life. † 33 After the Second World War, the political atmosphere in Poland was extremely tense. Siegel, quoting Norman Davies? work called â€Å"Heart of Europe: A short History of Poland†, adds: â€Å"Poland became a Stalinist one-party. By 1946 the State had taken away over ninety present of Poland? s industrial production, and sweeping land reforms broke up the pre-war Polish estates. Heavy industry was given precedence over agricultural production, and the general standard of living declined as the private sector was abolished and worker were exploited†¦ Anyo ne suspected of disloyalty was interrogated, censored and put in prison. † 34 The situation in Poland definitely caused Kieslowski? s pessimist in his movies which was dictated by communist. In the same interview with Stok, he provides examples when he was forced to edit part of reality that he recorded, particularly when the reality in film did not impose the reality that government wanted to provide. However, he tried always to find methods in order to present â€Å"the truth† by tricking the censors, he adds. Realism was what Krzysztof Kieslowski concentrated on, and his fictions have a documentary feel to it. In his movies there is a shift from using the observational camera-work associated with documentary with classical conventions of continuity as like in a questions session in Decalogue 1, between Pawel and his auntie. This questions session becomes the focus of narrative interest through the use of medium/ close ups and shot of dramatically the curious face of Pawel. 32 33 Slavoj Zizekâ€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 71 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 54, 55 34 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 9 DOCUMENTARY+/= FICTION When documentary aspects can be visible in Kieslowski? s fiction? How these aspects influence on his fiction? Are these aspects make similarities between his documentaries and fictions? Kieslowski started with documentary as an attempt to describe reality that surrounded him and later moved from describing form of reality to expressing form of reality, in his fiction. However, it seems that, there is number of corn similarities between his documentaries and fictions. Firstly, he shifted his interest about a man from documentaries to fiction. â€Å"Even the short documentary films were always about people, about what they? re like. † 35( †¦) In addition, in documentaries and fictions his main interest was inner-life. Secondly, almost all his work, apart from this feature Short Working Day ( 1981) that shows the worker? strikers from 1976; are set in the present, although they might have got some links to the past. Kieslowski focus on the present, on the stories of ordinary people, demonstrate them on the grounds of importance. In addition his focus on individual character, an observation of a small portion of reality is well seen not just in documentaries , but also in his fictions. In â€Å"Blue† a melting cube of sugar which proves Kieslowski? s obsession of close up, shows that the main character is not interested in something else then in this cube of sugar. For her, important is what is in front of her, her inner world. He achieved this technique by close-up zooming which creates an illusion of isolation a person of object from the wider context. The same techniques can be notice in his documentary called â€Å"Hospital† where details also play a significant role. A detail has got a significant role to evoke feelings in the audience as it delivers also a metaphysical context. Closing-up on doctors who hold and smoke cigarettes is seem to be reaction that in hospital they do not have medical tools to heal their patients and they use some building tools. The realist paid attention to redundant detail, which often meant writing dialogue that accurately reflected a character? s social identity, as well as, or instead of, forwarding the plot. In production, realist effect was created through props and sets that reproduced everyday life in great detail. † 36 35 36 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and fab er, London 1993, p. 144 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Julia Hallam, Manchester University Press, 2000, p. 20 Furthermore, from his documentaries, he brought kind of simplicity of presenting subjects or person, much avoiding authorial intervention. He never used both in documentaries and fictions his voice over commentary. It would seem that he believed that shooting in close-up characters tell story enough well without the need of commentary. Also from his documentaries, he gained the skills of photographing people? s feelings as like happiness, sorrow, tiredness, hopeless, indecision and hope ( most evident â€Å" I was a Soldier, â€Å" X-Ray†, â€Å" Talking Heads†), and adopted them into his fiction, Clearly seen in the scene of Decalogue 1, when Krzysztof lost his son, when he runs to the church to protest and despair. Thirdly, Kieslowski also used the documentary technique to raise tension and attention in his fiction. This statement supports the view in Blue, when Julie asks the housekeeper lady, why she is crying and when she hears â€Å"because you are not†. Julie who is normally unresponsive to others; reacts by embracing. And what a camera does in this particular moment? The camera is moving in close, reframes. The camera fallows the action rather than leading it. It seems that the moment might feel as documentary, as cameraman was surprised by Julie? s sudden reaction as audience might be. 7 By using this documentary technique in fiction he was more to fallow â€Å"the focus†. As in documentaries, noticed event that just happened is a part of what makes a documentary feels real. Fallow feeling with the character, not purely indemnification with him or her, but the kind of recognition of what the character feels in his/her world. His fiction (especially Camera Buff, Personel or Decalogue) provide feelings of authenticity and naturalness. Moreover, he often uses â€Å"deep focus† which is a technique that depends on a wide depth of field. Depth of field is a cinematographic practice, whereas deep focus is a technique in a film. Depth of field refers to the facial length and is achieved by a wide-angle lens. Deep focus, Bazin arguments as a greater objective realism possible. Besides, Kieslowski use to start the first scenes of showing the setting which carry information of the plot. In his documentary â€Å"From the city of Lodz†, at first a spectator sees the fabric, which is a basic and corn place for the characters of movie. The spectator, can observe the same technique in his fiction, for example in Decalogue 1, when at first sees the lake, the place of catastrophe. Kieslowski represents a creation as a form of suffering, an urgency that nothing can impede, like solitary cry before indifference of ? deals. †38The tendency of showing the setting first in movie might be a shadow what is a film about. The same tool is in Decalogue 7, when a movie starts from the off-screen scream of a child who is a main matter of the movie. 37 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 154 38 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York, 1999, p. 3 In addition, there is also characterisers melancholy which seem to be started in documentaries and was continued in fictions, which has got some philosophical reflections. There is a tendency in both his fiction and documentaries to show the same kind of man who does not how to life and for what reasons. Consequently, cyclical nature of his fiction movies had background in documentaries. For example the documentaries such as: Hospital, Office, Station, Factory might be put in one cycle, as all of them tell the story about Polish national institutions. The documentaries such as X-Ray, I was a Soldier , The Talking Heads might create another cycle. There is a same technique in fiction with the cycles as Blind Chance, Decalogue, Three Colours. In many interviews, Kieslowski pointed out that he makes movies in order to register. In 1976 he remarked: â€Å"I started to combine elements of both filmic genres- documentary and fictionfrom the documentary taking the truth of behaviour, the appearances of things and people, and from fiction, the depth of experience and action- the driving force of this genre. †39 39 Marek Haltof, â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 27 KIESLOWSKI? S AESTHETICS â€Å" Critics, particularly Polish film critics, usually debate the distribution between the ? early realist „and ? mature „metaphysical Kieslowski, and majority of them clearly favour `Kieslowski the realist?. †40 The argument for that might be, he started from detailed representation of reality, later moved this realist form of observations of people to his fictions. , the most evident in Decalogue, where he keeps a camera on a character, often working class character. Kieslowski believed that trough the documentary he can describe the world around him. His documentaries and early fictions show Poland and all its ugliness. He used very cold form of showing the grimy period of Poland under the communist regime whit a main focus on every day? s life of ordinary Poles. The world in which he grow up as an artist, the world with he continually dialogued in his movies, was not stable, free and economically successful like in Western Europe. The suffering of his country in many ways appears in his work. In Decalogue ( 10 parts that refer to the Biblical Ten Commandments), the ugliness of grey urban setting dominates the filmic landscape, together with close-ups of characters who endure these harsh conditions. Kieslowski? s observation of desperate characters, struggled for a better tomorrow, entanglement to the system, living in a communal way of life in grey, tenement blocks give Decalogue the feeling of documentary film. It seems that an inspiration for Decalogue were â€Å"chaos and disorder ruled Poland in the 1980s-ever-where, everything, practically everybody? s life. Tension, a feeling of hopelessness . 41 However, the Decalogue combines both; realism and hallucinatory style, as there is a mysterious zone in this cycle which is represented by a mysterious stranger who appears at crucial moments in different parts. The mysterious stranger is the silent witness and appears symbolically. He brings the element of mystery, something inexplicable also the tone for the series by dr amatizing the conflict between the rational and the spiritual. Moreover, in Decalogue, Kieslowski preoccupied with issues of chance, fate, alternative possibilities, and the tentative suggestions of a providential esign to the arc of human life quite similar as Ingmar Bergman. His characters suffer from dislocation, a displaced orientation, a disappear identity. In many ways, Decalogue is a set of the dramatic conditions and tone of isolation, despair, longing what cannot be recovered. â€Å"Chaos and disorder ruled Poland in the mid. 1980s-everwhere, everything, practically everybody? s 40 41 Inbid. , p. XI Danuta Stokâ€Å" Kieslowski on Kieslowski†, faber and faber, London, 1993, p. 143 life. Tension, a feeling of hopelessness, and a fear of yet worse to come were obvious (†¦) I am not even thinking about politics here but about ordinary, everyday life (†¦) I was watching people who did not really know why they were living. † There is also kind of tendency for them going round and round in circles, without achieving what they wish to achieve. The series of Decalogue is also a compact about such questions as what is right, what is wrong? how to be honest? .how to live with the acceptance to the nature? However, considering these questions, it seems that in movies Kieslowski avoids easy answers. Slavoj Zizek argues that Kieslowski? interest in Decalogue is ethic not morality. This is showed by breaking the moral code in each film that the ethical path is to be found. † 42 Moreover, Kieslowski used a form of ethical questioning as opposite to the strict moral code based in religious principles in 10 Commandments. It as an attempt to narrate ten stories about different individuals, caught in some struggles of difficulties of Polish life. The Decalogue is â€Å"the virtualisation of (†¦) life experience, the explosion/ dehiscence of the single ? true` reality into multitude of parallel lives, is strictly correlative to the assertion of the pro-cosmic abyss of a chaotic. 43 Decalogue has got an authentic recording of reality, but also has got acting and stimulation which offers still authentic imagery. â€Å" The major staples of Catholic thought-moral law, sin, guilt, free will, angels; infuse Kieslowski? s world† 44 in Decalogue. The first Decalogue episode presents the death of a child. The film opens with a picture of the frozen lake, suggesting a winter. It seems that the camera surveys this elemental image in order to avoid the human habitation, depicting despoil universe. A young man seats beside a smoking fire. He is a part of this landscape, the furry collar of his coat add animal look. The same returns at least 4 times in this part of Decalogue and returns in another part. He has no influence on action, however he leads the characters. Again in the first episode of Decalogue, there is the same technique, which Kieslowski used in his documentaries, called the technique of details. For example, Krzysztof is upset when ink that suddenly stains on his paper. It is like liquid is out of the control. This detail is reference to moment when Pawel his son is on the ice and this liquid functions as a foreboding liquid of out of control. 42 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan 2009, p. 44 43 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 95 44 Steven Woodward, â€Å" After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 186 In the third Decalogue episode, there is the same technique of playing with light as for example in his documentary X-Ray. In this documentary light presses on characters? hope and fears. The first shot is of blurred light that comes into focus when a drunk appears. Light is significant foreground here. Later when a police car is fallowing Janusz in stolen taxi, the scene is shot with close-ups of flashing blue light. As in other segments of the Decalogue, close-ups with wider shots filled with variations of lighting tend to isolate characters. If one character is in shadow, the other in light present the formal separation on emotional state. In X-Ray, light press characters? desires. Shots of a wood at sunrise follow, with a mysterious fog rolling through the scene. The abstract impulse is clearly in these shots and they act as a suggestion of eternal space cut against images of facing death people. Also the stark contrast between the pastoral rehabilitation centre and the smog-ridden city is showed by visual rhetoric of lighting as well. From the other side, Decalogue can be also analysed trough the terms used by Joseph G. Kickasola: the mosaic structure and Multivalent Consciousness. The mosaic structure is a kind of film composed with small pieces of narrative. Mini narratives come together to form a larger narrative. Narratives are related, and the drama of the film is contingent on these relationships developing and changing throughout the course of the film. The watching elements come together to form a whole. 45 In Decalogue all 10 episodes take place in Warsaw, the same blocks- tenements arrangement, among neighbours who may know each other. There is the connection between characters within the theme. Kieslowski realised argument that â€Å" We perceive our environment by anticipating and telling ourselves mini-stories† about that environment based on stories already told†. 46 Multivalent Consciousness takes a place when one person in some ways or another has got two or more simultaneous modes. It presents the idea of two people who might be the same person. In Decalogue, there is a mysterious man who once is a man sitting by lake in another part he takes different role. Somehow, there is an experience of a sense of mysterious connection between this one character to another character in particular episodes of Decalogue. â€Å"Tim Pulleine writes that Kieslowski? s perception of the world is saturated with â€Å" East European sinisterness. Even if one agrees with this comment-suggesting that the characters in Decalogue are themselves the products of specific East-Central European historical, political and 45 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 168 46 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 cultural circumstances- one also has to notice that they face universal, truly Bergmanesque dilemmas. †47 The open structure in Decalogue which is also in Bergman? s movies invite to fallow the action of his characters written in symbols, allusions, ambiguity and a number of motifs such as bottle of milk- sipped, frozen, spilled and delivered. In Decalogue 1, the frozen milk in a bottle seems to be a signal that the ice is thick enough for Pawel to go skating. Ironically, the ice cracks as the water was too warm in a lake, may it be a motif of the bottle of milk de-freezing itself? Furthermore, when Pawel is on the ice-skating, the ink bottle spills on his father? s table, makes uncanny spot. Is that can be read as melted milk? In addition, the motif of milk appears later in another parts of Decalogue. In Decalogue 2, the old doctor goes to buy a bottle of milk when in Decalogue 4 is very similar scene, when father goes to buy a bottle of milk. And the same bottle of milk is prominent in Decalogue 6, when young boy Tomek distributes milk in order to contact with Magda. Magda spills the bottle of milk on a table. Might the spilling of milk occurring as an echoed red stain of blood that fills the washbasin after Tomek? s suicide attempt, when he cuts his wrists? It could be said that, the bottle of milk is a sublimation of the detail which gives a meaning for another scenes as a simple trick of theatrical play. However, Kieslowski says â€Å"When it spills, it means milk? s been spilt. Nothing more (†¦ ) And that is cinema. Unfortunately, it does not mean anything else. 48 Anyhow, this statement does not mean that he disagreed with metaphorical ability of cinema, but he simply found it more difficult for cinema than for example for a novelist to capture the inner life. One of the Kieslowski? s famous actor Jerzy Stuhr says that Kieslowski used a method of perfect dialogue. Two people on the screen are silent, and a thir d one in the audience knows why. From documentaries, he avoided in his movies over informative dialogue. He weaved the information through character? s behaviour and details which were always important tools of information in his movies. 9 Idziak one of his famous cameraman said about Kieslowski: â€Å"He strongly believes that the look is more important than anything else, he understand to what extent the style affects the story. He understand that the style is the story itself. † 50 Also memories are important part of his movies. This approach to memories, dreams is visible already in his documentaries ( â€Å" I was Soldier†, â€Å" X-ray†) and it is much developed and 47 48 Marek Haltof,â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 79 Danuta Stok, â€Å"Kieslowski on Kieslowski†, aber and faber, London 1993, p. 127 49 Steven Woodward, â€Å" After Kieslowski. The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan, 2009, p. 70 50 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 150 questioned in his fiction. In his documentaries, dreams were treated more as portraits of characters; in fictions they have got more metaphysical and spiritual aspects. From time to time Kieslowski characters confess to odd feelings, strange dreams that dived them in a certain direction. Torkovsky once wrote: â€Å"Time and memory merge into each other; they are like two sides of a medal. Memory is a spiritual concept†¦ Bereft of memory, a person becomes the prisoner of an illusory experience; falling out of the time he is unable to seize his own link with the outside world-in other words he is doomed to madness. †51 51 Andrei Tarkovsky, â€Å" Sculpting in Time†, trans. Kitty Hunter-Blair, Austin: University Texas Press, 1986, p. 58 WHY RETRACTION FROM DOCUMENTRY? In the switch to fictions, it is quite clear that Kieslowski started to see the limits of the realist aesthetics. He discovered there was still much in life to be explored. â€Å"Not everything can be described. That is the documentary? s great problem. It catches itself as if in its own trap†¦ If I am making a film about love, I cannot go into a bedroom if real people are making love there†¦ I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me shut themselves off. That is probably why I changed to features. † 52 In the interview with Stok, Kieslowski gives example about one documentary that he was making during Polish martial law in the early 1980s. He received permission from the lawyer Krzysztof Piesiewicz ( his co-scriptwriter of Decalogue). The case for it was, expose the brutal and unfair sentences of the Polish judges were passing on Piesiewicz? worker clients. â€Å" The moment I started shooting†¦ the judges did not sentence the accused. That is, they passed some sort of deferred sentences which were not in fact, at all painful. † 53 It seems that judges did not want be recorded on film passing unjust sentences. Kieslowski understood that this causes false visions of real ity behind him. According to the interview with Stok, Kieslowski claims that he made his films on documentary principles. These principles reflected not to â€Å"unmediated truth, but the premise that films â€Å"evolve trough ideas and not action. 4 However, he still believed in human experiences and describing the reality as his artistic territory although, at the end of his carrier, he moved from social focus to more universal metaphysical ideas of life. It could be said that the instruments of authenticity which he used in documentaries, went toward the task of metaphysical exploration which still caused thrust to his all movies, just in this case metaphysical thrust of portraying human feelings. Another reasons, seems to be more ethical. Probing into other? s intimacy by referring to the right. â€Å" I managed to photograph some real tears several times. It is something completely different. But now, I have got glycerine. I am frightened of real tears. In fact, I do not even know whether I have got the right to photograph them. At such times I feel like somebody who has found himself a realm which is, in fact, out of bounds. That is the main reason why I escaped from documentaries. †55 52 53 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 72 Danuta Stok, â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 127 54 Joseph G.. Kickasola â€Å" The films of Krzysztof Kieslowski†, Joseph G. Kickasola,continuum, London 2004, p. 3 55 Slavoj Zizek, â€Å"†The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 72 Zizek argues that Kieslowski supplements the prohibition to depict the intimate moments of real life with false images of fiction. He adds that Kieslowski moved from documentaries as when somebody films real life scenes in documentary, people ( actors) play themselves and he claims that the only way to depict people beneath their protective mask of playing it, paradoxically is making them directly play a role into fiction. It seems that, in Zizek? s augment fiction is more real than the social reality of playing roles. He supports the view that if in Kieslowski? s documentaries, the characters seem to play themselves, then his fictions cannot but appear as documentaries about the brilliant performance. 56 Zizek also makes very crucial questions in order to analysing Kieslowski? s. He asks; if his escape from documentaries to fiction was dictated by the ? fright of real tears? , by the insight into obscenity of directly performance real life intimate experiences? How fictions are even in a way even more vulnerable than reality? If documentaries show the hurt the personal reality of the character, that fiction intrudes into and hurts dreams themselves? Documentary has got its limits; â€Å"not everything can be described†, he said in â€Å" Kieslowski on Kieslowskim†. Turning camera on external events cannot capture the intimate experiences such as making love or dying he said. Analysing his fictions, the question this arises: â€Å"Could a feature describe better than a documentary? † The dominant characteristic of the fiction film is that it represent something what is imaginary of the director. However, the feature representation seems to be more realistic then in another field of art such as painting or theatre as those show effigies of objects, their shadows. When in a fiction, the setting and actors represent the â€Å"real† situation even if they played it of the certain number of filmed conventions which we recognize from our life. In â€Å"Blind Chance† , Kieslowski composed three version, which seems to begin as a dream; the young man running to catch the train to Warsaw. The movie starts, that the main character is screaming as he lost his father who wished that he becomes a doctor, however he loses his wishing whist he was dying, he tells to Witek: â€Å"You do not have to do anything†. And somehow his father? death frees him from necessity. Later in the same part he becomes a Party activist, in the second part he gets lost and in third one, he got marry, become a doctor and suddenly die in an aircraft explosion. â€Å" Witek 1 is shot with a Tarkovskian adherence to ? real time? : no time is edited out of any of the 56 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, Briti sh Film Institute, 2001, p. 75 sequences. The life of Witek 2 is edited more conventionally, highlighting the â€Å" key† moments† (†¦) The final version of Witek? life is edited most conventionally from all, virtually in the no-nonsense manner of a television movie. † 57 The end of the movie confers a sense of fantasy. â€Å" By beginning Blind Chance with Witek? s scream and by developing opposite scenarios that logically require a middle one to complete and close them, Kieslowski gives to his film a structure that preserves it from succumbing entirely to the dictates of chance. † 58 Start with a close-up of a man who screams â€Å" No† with a moving camera into darkness of his throat. This might be a scene of Witek? s flashback. Witold? s scream at the beginning, might be a replay on the end of the film, when a plane? s explosion occurs. Blind Chance seems to be more of the same elevated to an iconic Munch-like open-mounted scream with which the film starts, and exactly this scene realises at the conclusion of the film, when it means the death of the main character. As the result, the movie might be described as the binary of â€Å"catch† or â€Å" miss† the train: missing the train with positive outcome, missing the train with negative outcome, corresponding to the third story when he caught the plane. Catching or missing, determined his death. 59 The term Forking Paths created by Joseph G. Kickasola, where one character proceeding along a particular narrative trajectory that divides in several directions. One path might be a true, and the others just are alternative endings. 60 This term suits for Blind Chance as outcome the moment of contingency. Alain Masson refers to the construction of Blind Chance as a dilemma or trilemma, where Kieslowski invites the audience to puzzle over whether Witek? s experiences device from choice, chance or perhaps destiny. As he said in â€Å" I? m So-So`, â€Å" We are sum of several things, including individual will, fate and chance which is not so important. It is the path we choose that is crucial. †61 57 Paul Coates, â€Å" Kieslowski, Politics and the Anti-Politics of Colour†: From the 1970s to the Three Colours Trilogy† in The Red and The White. The Cinema of People? s of Poland†, Wallflower Press, Great Britain, 2005, p. 191 58 Inbid. , p. 192 59 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 122 60 Inbid. , p. 69 61 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 59 CONCLUSION In Poland in mid-1970s and 80s, Kieslowski was a leading documentary film- maker with the following output :The Office ( 1966), The Photograph ( 1968), From the City of Lodz ( 1969), I Was a Soldier ( 1970), Factory ( 1970), Before the Rally ( 1971), Refrain ( 1972), Betwe en Wroclaw and Zielona Gora ( 1972), The Principles of Safety and Hygiene in Copper Mine ( 1972), Workers? 71: nothing about us without us ( 1972), Bricklayer ( 1973), X-Ray ( 1974), Curriculum vitae ( 1975), Hospital ( 1976), From a Night Porter? Point of View (1977), I don? t know (1977), Seven Women of Different Age ( 1978), Station (1980), Talking Heads ( 1980),Seven days a Week ( 1988). Kieslowski started from documentaries as a fight for a representation of the lack of an adequate image of social reality in Polish cinema caused by Communist regime. It seems that, he moved into fiction, as he noticed that when he let go of false representation and directly approach of reality, he lost reality itself in his documentaries. Notably, his documentary achievement has got unquestionable reflections on his fiction. Precisely, to feature films, Kieslowski moved â€Å"a criterion of authenticity† visible for example in â€Å" Personel†, where he made significant remark toward â€Å" authentic cinema†. For this production, he used improvised dialogue within the tradition of Italian neorealists, to cast non-actors for majority of roles. In the interview with Stok, he describes, how characters are true as they contradict the conventions of filmic stereotypes. Moreover, the next important tool in his movies is the tool of detail. Kieslowski, already started using this tool in his documentaries, whereby he developed within fiction. A detail in Kieslowski? s films, it is not just a construction of reality, but the detail plays crucial role in the transmission of reality. Furthermore, analysing Kieslowski? s films on the grounds of its documentary elements in his fiction, it is also important to interlace them with the term of naturalism which is closely associated with realism and which was not mentioned before in the paper. Naturalism fist came in the theatre of the nineteenth century with the work of Andre Antonie. He created a method of acting in order to get the actors to move away from the theatrical gestural. It means that the actors supposed to act as the audience was not there and audience feels as if it witnessing slice-of-life realism, which was also crucial for Stanislavsky? s method of acting. Actors enter the personae of their characters in order to not represent themselves. The essays describes the importance of naturalism, as Kieslowski? s actor appears to play in very natural and realist way and Kieslowski precisely stylised a life in a film. Especially, the Decalogue delivers naturally the conclusion for Poles- â€Å"they speak just like us†. The reality of what that might be seen in front of eyes, can drives nto the illusory nature of representation. It could be said that in this way, naturalism has got also an ideological effect of naturalizing. Therefore, it gives a surface image of reality. Always, aesthetic, social and moral concerns work together to deepen Kieslowski? s films. â€Å"Kieslowski? s work was prescient in all kinds of ways, that developed innovative n arrative forms and stylistic methods to address pressing existential, moral and political issues ( †¦) with references to his social context and the tensions and conflicts that surrounded him. † 62Emma Wilson describes Kieslowski as a director of intimacy and interiority. Kieslowski in his movies guid How to cite Documentary Aspects on Kieslowski Fiction, Essay examples