Molding of Society in Saramagos Blindness Essay -- Jose Saramago

To an extent, fear can be used as a way to mold society. The fear of terrorism set out by the event of 9/11 made it a more fear-driven world with growing minds of over analytical, blind, ignorant and assumable citizens, finger-pointing at others. But Jose Saramago's Blindness shows the possibility of fear molding our society. An epidemic of a bright, white blindness affecting all people, such brightness that no one would see anything but the white brightness itself, the novel uses this metaphorically as that we choose to ignore so much of the misery that goes on around us, the awful things that are happening in front of us, the despicable aspects of life. Instead, we chose to see what we want to see.   Ã‚  Ã‚  Ã‚  Ã‚  "Look here, blind man, let me tell you something, either the two of you get back to where you came from, or you'll be shot, Let's go, said the wife, there's nothing to be done, they're not to blame, they're terrified and are only obeying orders..." (Saramago 63) This scene involves the blind in the institution, specifically the doctor and his wife that came to ask a guard for any antibiotics for a wounded man. This and other scenes throughout the novel shows the panic and fear from society and the government of this epidemic of blindness rapidly spreading with no reason. And particularly found in this quote is the power and the ability to implant such threat and fear in the blind internees, who are not only afraid of their own life that's hanging by a string because of th... Molding of Society in Saramago's Blindness Essay -- Jose Saramago To an extent, fear can be used as a way to mold society. The fear of terrorism set out by the event of 9/11 made it a more fear-driven world with growing minds of over analytical, blind, ignorant and assumable citizens, finger-pointing at others. But Jose Saramago's Blindness shows the possibility of fear molding our society. An epidemic of a bright, white blindness affecting all people, such brightness that no one would see anything but the white brightness itself, the novel uses this metaphorically as that we choose to ignore so much of the misery that goes on around us, the awful things that are happening in front of us, the despicable aspects of life. Instead, we chose to see what we want to see.   Ã‚  Ã‚  Ã‚  Ã‚  "Look here, blind man, let me tell you something, either the two of you get back to where you came from, or you'll be shot, Let's go, said the wife, there's nothing to be done, they're not to blame, they're terrified and are only obeying orders..." (Saramago 63) This scene involves the blind in the institution, specifically the doctor and his wife that came to ask a guard for any antibiotics for a wounded man. This and other scenes throughout the novel shows the panic and fear from society and the government of this epidemic of blindness rapidly spreading with no reason. And particularly found in this quote is the power and the ability to implant such threat and fear in the blind internees, who are not only afraid of their own life that's hanging by a string because of th...

In Search of a Methodological Foundation for Applied Ethics :: Philosophy Philosophical Papers

In Search of a Methodological Foundation for Applied Ethics ABSTRACT: The problems that face contemporary applied ethics are indissolubly related to some characteristics of postmodern civil society. In this paper I will try to take a stand in the discussion between a proponent of a particularistic approach and one who favors a universalistic approach to the present difficulties that accompany human action. Karl-Otto Apel combines in his ethics of discourse a focus upon universal and normative structures of communication with a Kantian transcendental method of thought. Paul van Tongeren follows Aristotle and Nietzsche in arguing that the local and historically determined contingent traditions are the basis on which to approach our ethical questions. After giving a brief presentation of their respective contributions to the discussion, I shall end with some reflections on the difference between, and the merits and demerits of, a universalistic and a particularistic ethics. Until very recently in the history of mankind, most people lived in rather small communities. Their knowledge of and their influence on distant cultures was rather limited. With the rise of modern science, resulting in the present communication era, things changed considerably. Today, man's cultural evolution has reached a point where the local and the global dimensions of his actions are hard to distinguish. Another feature of our existence at the present 'fin de sià ¨cle' is the declining influence of the great narrative traditions. In our liberal democracies the new leading narrative is that of the free market, accompanied by the imperative of unlimited profit making and consumerism. The lack of a consensus on many basic social values which results from the declining influence of the 'great stories' of our traditions, generates a mentality of 'collective individualism' and value relativism. In this situation we face the danger of initiating a process in which the rather fashionable ideals of pluralism and tolerance turn out to be mere indifference. (1) The problems that face contemporary ethics are indissolubly related to these characteristic features of post-modern civil society. In this paper I will try to take a stand in the discussion between proponents of a particularist approach and those who favour a universalistic approach to the present difficulties that accompany human action. After giving a brief presentation of Karl-Otto Apel's and Paul van Tongeren's contribution to the discussion, I shall end with some reflections on the difference between, and the merits and demerits of, a universalistic and a particularistic ethics.

Children’s Television Essay

Over the past three months I have been studying children’s television programmes to find out about what influences they have over children’s behaviour, the types of shows that are on offer and why children opt to watch them. I picked three key questions based on what I thought would get the best reactions and results and the most frequently asked problems such as the amount of violence children see on TV. I used various different methods of searching for information which included surfing the Internet, emailing relevant people, setting up focus groups and interviewing people who have an appropriate opinion on this subject, e. g. parents. I broke my research up into three categories, primary, secondary and tertiary this allowed me to organise myself and also to get opinions as well as facts. My primary research consisted of interviewing people such as parents to find out their opinions on certain aspects of this subject. I have planned to interview a media teacher who is also a parent because she will have factual information and first hand experience. My second interviewee will be a single father of four young children, each child is in one of my aimed target groups so this will help when finding out why his children chose to watch what they do and why they enjoy it. I will also visit schools to interview children, first hand about their opinions on certain programmes and find out why they watch them. This will be very helpful when answering my second key question. To gather more information I will be conducting a set of focus groups, each will consists of five to six people who I will be directing questions at for them to discuss among themselves. I will be recording the discussion so I can referee to it later on, this will allow me to use quotes and pick out relevant information. I have produced a questionnaire that consists of 15 questions that I will be handing out to members of each of my focus groups. This is also part of my primary research and allows me to refer back and can be used as evidence when trying to make a point for one of my key questions. The only piece of primary research I have conducted thus far is to try and contact some of the industries producers and writers to find out some factual information about different shows. Whilst searching the Internet I located the BBC website, www. BBC. co. uk this was a big help as I found a link to the teletubbies website which then led me to find one of the writers email addresses. I emailed Will Brenton with an explanation of what I hoped to achieve from his knowledge and set him a few simple questions, I have yet to receive a reply but do frequently check my email. I am also hoping to get in contact with a producer or director for the BBC to find out about scheduling, I have yet to find the relevant address. My secondary research consisted mostly of searching through countless amounts of websites to try and pick out related information, I found this extremely frustrating as I had to search for hours at a time to find anything that would help me. I made a list of which websites were useful and visited them regularly for updates; www. turnoffyourtv. com, www. limittv. org and www. familyresources. com/parenting. Once I had collected enough information I began sifting through it and highlighting the most interesting parts. Whilst looking on the Internet I managed to determine what shows were on offer and which were the most popular, from this I chose three main programmes to focus on, all of which were aimed at different ages but for both sexes. Another reason why I chose them was because they had received the best ratings over any other TV show for the same age group and were also on the same channel, this made it easier to access information.

Ihg’s Corporate Strategy: “The Winning Ways”

IHG’s corporate strategy: ‘The winning ways’ IHG’s mission statement is: ‘to become the greatest company in the world through creating great hotels guests love’. IHG’s road map for growth is dependent on engagement and high performance from the entire workforce. In order to achieve this, IHG designed a set of values, known as ‘the winning ways’. The winning ways serve as ‘a road map’, which enables IHG to reach their long-term vision. IHG’s winning ways will act as the foundation for how they go about their business. More specifically, the winning ways are fundamental to enhancing relationships with guests, colleagues and business owners. This new way of working will also support and drive the organization’s growth. But what are the winning ways and how exactly will one measure the strategy’s success? The winning ways are as follows: Do The Right Thing – â€Å"We aim to do what we believe is right and have the courage and conviction to put it into practice. We are honest and straightforward and see our decisions through. † Show We Care – â€Å"We want to be a company that understands people’s needs better than anyone else in our industry. This means being sensitive to others, noticing the things that matter and taking responsibility for getting things right. Aim Higher – â€Å"We aim to be acknowledged industry leaders, and have built a team of talented people who have a will to be the best. We strive for success and we value individuals who are always looking for better ways to do things. † Celebrate Difference – â€Å"We believe it is the knowledge of our people that brings our brands to life. We do not impose a rigid, uniform view of the world. Our global strength comes from celebrating local differences, while knowing that some things should be the same. † Work Better Together – â€Å"We are at our best when we collaborate to form a powerful team. We listen to each other and combine our expertise to create a strong, focused, supportive and trusted team of people. † The winning ways outline IHG’s culture as being a world leading hotel group. This unique strategy has been rolled out across the entire group and in order to measure the success of the winning ways, employee satisfaction surveys are used. Basically, IHG acknowledges that their people are the most important element for success, because they are responsible for bringing IHG’s brands (within IHG, there are seven hotel brands) to life for guests. IHG uses its’ winning ways strategy to put personnel ‘in the spotlight’ and therefore making employees satisfied, in which they will portray their gratification towards guests. In conclusion, IHG’s winning ways strategy is a smart, yet simple approach to reach their mission statement. The winning ways can also be referred to as their guideline or bible to guide the hotel group towards their long-term vision. IHG’s winning ways are how personnel should behave on a daily basis; a set of behaviors based on their values which is ultimately absorbed by the entire workforce and transferred to the guests. By creating a consistent and reliable workforce, IHG can be sure that their winning ways strategy is the perfect route to success, because after all, guest satisfaction is everything in the hotel industry. References Robert Dransfield (2001), Corporate Strategy – 1st edition, Guildford, England, Heinemann Laura Pratt (2011), Hotelier Magazine – People Pleasers: IHG Aims to Please as Pinnacles 2011 Company of the Year Allison Shirreffs (2011), Atlanta Business Chronicle – InterContinental Hotels Group: Best places to work InterContinental Hotels Group corporate website: http://www. ihgplc. com/index. asp [pic]

A neo-slave narrative Essay

Often, man resorts to story-telling as a way of reconciling with a formidable incident in the past. By re-telling the story to another party, he comes to accept that this is a reality to be faced. He realizes that acceptance, rather than denial, is the best way of going about this trouble. Aside from the rehabilitating ability of story-telling with its contributory effect in dealing with a painful memory, others simply do this as a way of remembering. Concretizing the past as a piece of literature would ensure that the incident would not just be buried in the recesses of the memory; that it would be kept alive and the pains and suffering would not be without significance. In this light, it would come clear for readers how and why the proliferation and the presence of slave narratives came about. One may think that with the end of the painful era of slavery, all dialogues and discussion about the subject would also desist. For the African-American slaves and their descendants, this was not the case. The words of Robert Crossley of the University of Massachusetts rerated the thought: â€Å"First-person American slave narratives should have ceased being written when the last American citizen born into institutionalized slavery died. But the literary form has persisted, just as the legacy of slavery has persisted, into the present. † To be more specific, the birth and popularization of the slave narratives started in the nineteenth century. James Olney stated that each narrative â€Å"a unique production† as an autobiography, and â€Å"is not every autobiography the unique tale, uniquely told, of a unique life? Therefore, the uniqueness of each narrative from the others is a trait of this genre, as it narrates the experiences of the writers which are unique to another’s. However, certain characteristics are evidently similar in the work to be considered a part of the genre. For one thing, it has to tell the story of a black slave’s struggle for literacy and freedom, while testifying against the â€Å"peculiar institution/’ which in practice meant human bondage and humiliation (Gates, â€Å"Introduction† ix). By the second half of the twentieth century, a sub-genre of the slave narrative has arisen; called the â€Å"neo-slave narrative,† it is a fictional mutation of the slave narratives of nineteenth-century Americans (Crossley). This sub-set of the slave narrative genre is very similar with its umbrella genre in the sense that it presents personal accounts of slavery. However, the difference lies in the choice of the author to fictionalize existing accounts, and not his own personal experiences. The authors base the structure of their fictional work on the oral histories and existing slave narratives to make sure that the story would still echo true events in the historical sense. The birth of this sub-set of the slave narrative genre may be attributed to the void that it fills, or attempts to fill. Anita Wholuba in her paper said that the chasm which is attempted to be explored and filled is the ironic presence of silence in slave narratives, despite of the voice earned by the slave narrative writers. Wholuba said that â€Å"while a significant number of scholars have established that certain silences exist in the traditional narrative of history, neo-slave narrative authors have committed themselves to the task of identifying and sounding those silences where the representation of the American slavery era is concerned. † A novel titled Kindred, penned by Octavia Butler, is among the body of neo-slave narratives published in the last century. It was published in the year 1979, and speaks of an African-American woman’s sojourns to the past. The character Dana, lives in contemporary California, but is transported back in time to the antebellum South. In her involuntary travels to the past, she understands how difficult the situation for people before her ancestors actually was. As I was reading Kindred, I had the initial impression that it was just to be appreciated for its science fiction values. Although the science element in this novel was not so much as it was felt in other novels from the same genre, her meshing of science fiction and history was an innovation that should be noted and lauded. In any case, what caught my attention more was the similarity Kindred has with other novels we have read subsequently in the class, which were the Narrative of the Life of Frederic Douglass, Incidents in the Life of a Slave Girl, and Up from Slavery. Evidently, there were characteristics of a slave narrative in the novel Kindred. However, the text didn’t meet the five criteria for it to be called a slave narrative, the genre which the other works fell under. As Kindred is a work of fiction, it would naturally be categorized as a neo slave narrative, a concept I came to be familiar with after research. Kindred as a neo-slave narrative With the plot and simple and direct language employed by Butler, Kindred could not be missed as a neo-slave narrative. Characters that are actual African-American slaves and Caucasian American masters and violence inflicted on slaves are presented in the novel. On a deeper sense, on the other hand, the novel follows the same pattern present in other slave narratives. Wholuba in the same paper added that although the text refers to other slave narratives such as the work written by Douglass’, in an effort to explore existing themes, the novel still manages to introduce new themes. The new themes that this novel presented, according to Wholuba still, include a more blunt â€Å"analysis and depiction of the slave’s struggle for sexual autonomy, the experience of middle passage, and the concept of memory. † As was mentioned, the novel Kindred follows the typical pattern for a slave narrative, and this will be the thesis of the paper. It will attempt to discuss and prove the characteristics of a slave narrative present in Butler’s popular piece of art. Another writer mentioned some of the other patterns commonly found in neo-slave narratives. Lysik mentioned in her essay that neo-slave narratives portrayed the â€Å"vital slave culture† in a positive light as it could serve as a means of surviving the brutal reality they are subjected to (Lysik). What this implicates is that the writers of the neo-slave narratives provide a new perspective in terms of viewing the arduous tasks and obligations slaves have to fulfill. Most authors show how slaves then turn this otherwise appalling condition to something that they could actually seek refuge in. First and foremost, the novel carried a prefatory statement by a person from Caucasian American race attesting to the authenticity of the author. The second criterion which has to be satisfied is the movement from slavery to freedom. Kindred has been classified under slave narratives by critics as leans toward the freedom narrative category. This concept will be further discussed in the following paragraphs. Aside from this, the most obvious criterion which the novel has to satisfy is that the story should portray the physical, emotional, and spiritual deprivation of slavery. Kindred, undeniably, does not fall short on this end. As the journey through time and space allows Dana to witness the events during the period of slavery firsthand, the novel is rich with narration regarding the struggles of the African-American slaves. Through Dana’s experiences, the tales of the different forms of deprivation and coercion were regaled to the readers. James and his contemporaries talked of this in a paper, saying that many forms of violence and intimidation were observed to be used to maintain white dominance in the slave economy through the eyes of the character of Dana. These â€Å"preservation† measures, so to speak, included the sexual violence against black women that was common during slavery, the assault on black families, the difficult choices that black people were compelled to make in acts of love, survival, and resistance, and the outcomes of internalized oppression (James, et. al). A specific scene in the novel would be that time when Dana personally witnessed the beating of a slave. The slave was hunted by white patrollers because of a crime that would seem absurd for people of the modern times: the slave was found spending time with his wife in their own bedroom without the slave master’s permission. The following text is lifted from the novel: I could literally smell his sweat, hear every ragged breath, every cry, every cut of the whip. I could see his body jerking, convulsing, straining against the rope as his screaming went on and on. My stomach heaved, and I had to force myself to stay where I was and keep quiet. Why didn’t they stop! â€Å"Please, Master,† the man begged. â€Å"For Godsake, Master, please †¦Ã¢â‚¬  I shut my eyes and tensed my muscles against an urge to vomit. I had seen people beaten on television and in the movies. I had seen the tored blood substitute streaked across their backs and heard their well-rehearsed screams. But I hadn’t lain nearby and smelled their sweat or heard them pleading and praying, shamed before their families and themselves. I was probably less prepared for the reality than the child crying not far from me. (p. 36) What made the scene worse than it was already is the fact that the daughter of the slave was also witnessing what was happening. She was situated a few yards away from Dana, but as the character said, â€Å"I was probably less prepared for the reality than the child crying not far from me,† we can surmise that the child could better deal with the situation than Dana for this was not a phenomenon for her any longer. It had become part of her reality that it is possible for her father to be punished for doing something, however trivial it may be, which is against their master’s will. The horror of the situation in antebellum South of America then was clearly depicted in this specific scene. Dana’s reaction to what she witnessed represents the reactions of her fellow African-Americans and of people from different nations who oppose such inhumane violent inflictions. As Butler effectively mixed fiction and narrative in this novel, the outcome of the story-telling was as much effective as it was sincere. Another trait that must be found in the text is the element of a triggering event that pushes the slave to escape to be considered a neo-slave narrative. For this particular novel, there were many instances which depicted this. The many times when the protagonist Dana feels the need to escape can be included here. However, what would be the more fitting example here is Alice, the woman who was going to give birth to Dana’s ancestor. Being a slave who was forced to bear and mother a ruthless master’s children, she was a character who was forced to the point of brokenness of the spirit. At some point, readers will also see her desperation because of the situation. There was a time, however when Alice was determined to run away with her husband, Isaac. What triggered this was the series of beatings she had to go through and the physical assault made by Rufus on her, â€Å"when Rufus who has torn Alice’s dress and raped her,† (Butler, 117). Isaac beat their master to death because of this event, but because of Dana’s pleas, decided to stop and run away with Alice. However, their escape was to no avail. They were eventually recaptured, which led to more unacceptable punishment for them from the patrollers. Isaac’s ears were cut off and he was sold to another family. Alice on the other hand, had to survive attacks by hunting dogs. While the desire for escape was a theme discussed many times in the text, it must also be noted that success did not always come with it. Isaac and Alice were not the only characters who had to endure unsuccessful escapes. Two other women characters in the novel were recaptured and were subjected to more physical abuse when they attempted to leave. According to Wholuba, these failed attempts are important as they reveal to readers how the slaves had to find other ways to resist or survive, when liberation is impossible for them to attain. Despite of this, there was one character who was able to manage a successful escape. Though she had lost her arm in the process of going back to the real world she belonged in, she was able to acquire freedom from Rufus nonetheless. As another trait of slave narratives is that there is a situation which depicts liberation, or escaping to freedom, which is often followed by a renaming. In Dana’s case, changing her name did not transpire after the escape. The shift that took place in this context was the shift in her attitudes and understanding. Her character can be actually accused of being too oblivious to the events in her people’s past, which can only be a good thing to an extent. She is married to Kevin, a white American, who may also be guilty of the same thing. The blissful marriage between the two despite their racial differences should not be the main point of discussion; whereas, it should be set on the seemingly it-happened-so-long-ago-it-should-not-affect-us-anymore attitude of the interracial couple. However, after her numerous trips back to antebellum Maryland, she was forced to open her eyes and mind to what her ancestors had to go through. The situations had forced her to remember, to understand from the viewpoint of a slave who endured the slavery period. With this, she was able to connect what used to be different for her: her current life as a modern woman engaged in an interracial relationship, and the history and experiences of her ancestors. Looking at it, the couple Dana and Kevin may be representing the African-Americans in the modern times, who do not look back anymore at what happened in the past. This novel then, may serve as a reminder for them that the past should not be forgotten, but rather should be immortalized for the lessons that have been begotten from it. Impact of the novel Clearly, Butler was able to evoke positive reactions and was actually able to initiate change on the part of her readers. The most palpable change that she was able to make is to remind her fellow African-American readers of their past and have a change of heart and attitude toward their past. Crossley also observed this change that Butler facilitated with this novel. According to him, Butler â€Å"has deployed the genre’s conventions to tell stories with a political and sociological edge to them, stories that speak to issues, feelings, and historical truths arising out of African-American experience. † As I have mentioned in the preceding paragraph, she makes the readers understand that the past should not be forgotten because of the pains that it may rekindle. The novel reinforces that remembering the past would not the allow struggles of their ancestors to be left to disintegrate in vain. The purpose that their sufferings serve would be kept alive, and that is to comprehend the mistakes of the past to prevent any similar event to happen again. Another interesting point that Crossley raised in his essay was that Butler, through the novel Kindred, was able to reveal the connection between history and the current diseases of the society. She boldly exposed different forms of chauvinism and explained how these are â€Å"enriched by a historical consciousness that shapes the depiction of enslavement both in the real past and in imaginary pasts and futures, and enact struggles for personal freedom and cultural pluralism,† (Crossle). In conclusion, Kindred is a novel that goes beyond satisfying the extrinsic values of a science fiction novel. The words expressed by James and his fellow authors can best summarize what the novel does to a reader: â€Å"Readers can recognize many parallels in our own search for truth about this painful history, and we are moved to consider: how powerfully and inextricably we are bound to the lives of our ancestors; how racism, denial, myth-making, and racial stereotypes have influenced our understanding of our cultural heritage; how the past shapes our present reality; how revisiting a painful past can lead toward healing; and how we can best use our historical memory to move forward (James, et. al)†. Summary: Neo-slave narratives, which is a sub-genre of the slave narrative, proliferated by the second half of the twentieth century. The neo-slave narrative genre is very similar with its umbrella genre, which is the slave narrative, in the sense that it presents personal accounts of slavery. However, the difference lies in the choice of the author to fictionalize existing accounts, and not his own personal experiences. The authors base the structure of their fictional work on the oral histories and existing slave narratives to make sure that the story would still echo true events in the historical sense. A novel titled Kindred, penned by Octavia Butler, is among the body of neo-slave narratives published in the last century. It was published in the year 1979, and speaks of an African-American woman’s sojourns to the past. Evidently, there were characteristics of a slave narrative in the novel Kindred. However, the text didn’t meet the five criteria for it to be called a slave narrative, the genre which the other works fell under. As Kindred is a work of fiction, it would naturally be categorized as a neo slave narrative, a concept I came to be familiar with after research. With the plot and simple and direct language employed by Butler, Kindred could not be missed as a neo-slave narrative. Characters that are actual African-American slaves and Caucasian American masters and violence inflicted on slaves are presented in the novel. On a deeper sense, on the other hand, the novel follows the same pattern present in other slave narratives. As was mentioned, the novel Kindred follows the typical pattern for a slave narrative, and this will be the thesis of the paper. It will attempt to discuss and prove the characteristics of a slave narrative present in Butler’s popular piece of art. First and foremost, the novel carried a prefatory statement by a person from Caucasian American race attesting to the authenticity of the author. The second criterion which has to be satisfied is the movement from slavery to freedom. Kindred has been classified under slave narratives by critics as leans toward the freedom narrative category. Aside from this, the most obvious criterion which the novel has to satisfy is that the story should portray the physical, emotional, and spiritual deprivation of slavery. Kindred, undeniably, does not fall short on this end. As the journey through time and space allows Dana to witness the events during the period of slavery firsthand, the novel is rich with narration regarding the struggles of the African-American slaves. Through Dana’s experiences, the tales of the different forms of deprivation and coercion were regaled to the readers. Another trait that must be found in the text is the element of a triggering event that pushes the slave to escape to be considered a neo-slave narrative. For this particular novel, there were many instances which depicted this. The many times when the protagonist Dana feels the need to escape can be included here. Aside from this, another trait of slave narratives is that there is a situation which depicts liberation, or escaping to freedom, which is often followed by a renaming, was also present in the novel. In Dana’s case, changing her name did not transpire after the escape. The shift that took place in this context was the shift in her attitudes and understanding. In conclusion, Kindred is a novel that goes beyond satisfying the extrinsic values of a science fiction novel. More importantly, Butler was able to evoke positive reactions and was actually able to initiate change on the part of her readers. The most palpable change that she was able to make is to remind her fellow African-American readers of their past and have a change of heart and attitude toward their past.

Discuss ‘sensibility’ in the poetry of Felicia Hemans: The Grave of a Poetess

In this essay I will define the meaning of ‘sensibility' in the poetry that I have encountered in this course. Then, I will discuss the gender writing, women's poetry and whether ‘sensibility' is a characteristic of women's poetry alone. In poetry, sensibility could be defined as a mental responsiveness and awareness, which refine sensitivity to pleasurable or painful impressions. It also, considered as a cult of feeling, which arose in the eighteenth century in response to philosophical theories. Those theories investigate the power of feeling to communicate directly between people. In the eighteenth century, sensibility celebrated the man feeling, presented with the feelings of sympathy and pity in response to the suffering of others. Sensibility takes us into an internal world of psychology. Curran argues that the link is a crucial one to understanding Romanticism when he writes that the ‘poetry of sensibility is at base a literature of psychological exploration, and it is the foundation on which Romanticism was reread' (Romantic Writing, p. 113). The images of woman on the eighteenth century, was one source of the figure of the domestic woman. Within the culture of the Romantic period, the main role for woman was taking care of children, house and husband. Literature in that era, was influenced by sensibility, and seems to celebrate feeling and femininity. Although sensibility appears among males' poems, most of them refuse sensibility and consider it as a type of feminine. Many of Wordsworth's poems return to the literature of sensibility, such as the distress suffered by a young woman and meeting an old man on the roadside. Wordsworth accepted sensibility as a male sensibility, but Blake refuse completely the sensibility, which represented in his perspective woman femininity. Sensibility meaning was different in the point of view of some women writers. Some of them take their literary identity from it, such as Williams. Whereas, others consider it as an aspect of femininity at best, and at worst, as a means to celebrate all that is most false and decadent in the contemporary emergence of male romantic poetry. No one can deny that romanticism periods' writers, such as Wordsworth, Coleridge, Keats, Byron and Shelley, had borrowed significantly from female authors and feminine types of literature. Hence, we have to admit that there is a shared culture between men and women throughout the period of romanticism. Wollstonecraft argues that to deny women the opportunities of education and an active role in society is to transform them into domestic slaves. What connects women and slaves, for Wollstonecraft, is that they are both seen and treated as commodities. The revolutionary period gave fresh movement to debate and concern about femininity and women's role in society. James Fordyce's Sermons to Young Women (1765) was One of the most frequently republished volumes. In that volume, writer expresses strong views on the dangers to women of too much novel reading. According to Fordyce, female intellect is limited, whereas, most of life activities which need human intelligence such as ‘war, commerce, politics, exercises of strength and dexterity, abstract philosophy, and all the abstruser sciences, are more properly the province of men. In thinking about the relation between gender and writing in the romantic period, we should note the Polwhele claims an inherited masculine perspective, locating his contemporary readers in the context of their fathers' experience. According to Polwhele, women's writing is an affront to God-given, ‘natural' gender roles. In this masculine way of seeing, women are objects of the male gaze, they are defined by their appearance and behaviour. It follows that if women engage in certain types of writing, this will involve the loss of the ‘softer charms' that are bound up with these ideals of femininity. (Romantic Writing, p. 180). Nevertheless There were influential poets in the beginning of the nineteenth century, such as Anna Barbauld, Anna Seward, Charlotte Smith and Mary Robinson. The work of those women writers were going through many editions, but they have subsequently been erased from literary history or pushed to its margins. Women writers were very popular, and women readers gained a new economic visibility through the rise of fashionable magazine.. the beginning of women entrance to literary marketplace was in significant numbers during the 18th and 19th centuries, but in the historical context in which they wrote, they could not easily claim to speak with authority. To write as a woman was to be transgressive: entering the literary marketplace and competing with male authors for readership challenged conventional gender boundaries. As a result, many women authors adopted authorial personae that fit, rather than challenged, conventional gender definitions. Since women were generally understood to be emotional rather than rational, women authors often wrote about feelings, emotions, and, especially, love. They often adopted styles that fit their subject matter: to seem more feminine, they employed highly emotional language. By so doing, they could find an audience yet not risk being perceived as excessively ambitious. But this created a double-bind: to speak as a woman was to play the part of an emotionally sensitive and irrational human being. And whereas male authors could cite an infinite number of literary ancestors to establish their authority, female authors had just a handful of literary antecedents. Male poets were increasingly forced to respond to women writers such as Joanna Baillie, a Scottish poet and successful dramatist, who published a 72 page polemic arguing for naturalness in poetic language two years before Wordsworth wrote his ‘Preface† to the second edition of Lyrical Ballads, in which he makes the same plea. Women Poets such as Baillie and other preceded Wordsworth and brought the vigour of common life and language to their writings. Many of the most popular poets, such as Letitia Elizabeth Landon (L.E.L), published their poems in annuals and ornamental giftbooks, which were directed towards a largely female readership. L.E.L. edited and wrote most of Health's Book of Beauty, and contributed to countless other. They promoted, particularly through their illustrations, an ideology of feminine beauty, providing models for women to emulate and confirming that the ideal woman was the object, not the subject, of the gaze. In this sense, we will represent Felicia Hemans: â€Å"The Grave of a Poetess†. Sensibility is appear obviously in this poem which succeed in transferring the human suffer among its verses. In such a poem which written by woman, the death seems strangely bound up with expression, and it show how might this bundling affect the poem's agenda. In the final stanza of The Grave of a Poetess, Felicia Hemans completes the turn of her poem from one of melancholy lament at the passing of fellow poet Mary Tighe to one instead celebrating the apparent freedom of expression that follows a poet's earthly death. In closing, Hemans writes to Tighe, â€Å"Where couldst thou fix on mortal ground / Thy tender thoughts and high? / Now peace the woman's heart hath found, / And joy the poet's eye†. The Grave of a Poetess, ends up carrying a fair amount of dramatic potency, as it both points to repression of the female voice, and implies the loss this creates for all of humanity. An effective tension is thus lent to Hemans poem through the direct and indirect of injection of her frustrated Romantic yearnings for the attainment of full expression for her and her fellow poetesses, the denial of which leads her to resort to the Christian-like notion of a vindicating afterlife seen in this poem. Charlotte Smith was born in London. Her mother Anne died when she was only three, and at the age of six Charlotte was sent by her Aunt to a school in Chichester and later a school in Kingston. At the age of sixteen she was the subject of an arranged marriage to Benjamin Smith, with whom she was to have twelve children. There life together was far from straightforward, and the couple had many financial difficulties which led to her husband being imprisoned in debtors prison for seven months. Despite all her problems she was however a talented translator, and prolific writer of prose, plays and poetry. Including the Elegaic Sonnets in 1784 of which the Glow Worm was sonnet 58. She died in 1806 and is buried in Stoke. In Charlotte Smith's sonnet, she showed a high power of sensibility and she used a power of nature to represent her feeling among the sonnet. â€Å"I love to listen to the hollow sighs/ Through the half-leafless wood that breathes the gale;/ for at such hours the shadowy phantom pale†: in these lines she express her sadness and feelings through the use of nature elements. She used the expression â€Å"half-leafless† to show that the leaves had fallen down. Also she use the expression â€Å"shadowy phantom† to show that it is as a shadow, and this expression is a kind of mystery. Dorothy Wordsworth: â€Å"Floating Island† is another example of woman poetry, which represent sensibility among her writing. Dorothy start her poem with a force of nature: â€Å"Harmonious Powers with Nature work/ on sky, earth, river, lake, and sea:/ Sunshine and storm, whirlwind and breeze/ All in one duteous task agree†. In this poem the poet employed the nature to express the feeling of security in the preface of the poem. Although common poets refused to accept feminine sensibility, their work was influenced by sensibility in getting to the mind of human feeling and describing suffering and emotion. Wordsworth show sensibility in his famous poems, such as â€Å"Lucy†. In that poem, Wordsworth describe a story of a woman and express her beauty and shy. Then he ended his poem by telling his audience that Lucy had dead and no one know where she had lived: â€Å"She lived unknown, and few could know/ But she is in her grave, and oh†. All these emotions considered as a type of sensibility. In contrasting with William Blake: â€Å"The Chimney Sweeper†, we find that the poet interest in showing a political and social suffering among his poem. In this poem the Blake is suggesting that it is a state of affairs which cannot be changed, and all we could do would be to accept our earthly fate and expect our reward in the afterlife: â€Å"And so Tome awoke, and we rose in the dark,/ So if all do their duty they need not fear harm†. Although men such as Wordsworth, Blake, Keats and Shelley refused to admit that they use sensibility in their poems, no one can deny that there is a considerable amount of shared culture between men and women throughout the period of romanticism. In comparing with women sensibility, Wordsworth, Blake, Keats and Shelley express their sensibility among their poems in their poetry, and mainly they concern in human existence and the political situation. Sensibility was appeared more in Blake poems, as he was more sensitive and involved in human and political suffering and he was considered as a radical member during the revolution. On the other hand women sensibility interest in domestic matters and social and family sadness and women suffering. Further more they interest in the story of love and families and they use gothic elements in their poetry. In conclusion, we defined sensibility as a matter of sensitivity and expression of emotions which arose in eighteenth century poetry. Both of men and women used sensibility in their poetry, but each of them employ it in a different way. The work of Wordsworth and Coleridge, Keats Byron and Shelley borrows significantly from female authors and ‘feminine' types of literature, such as sensibility, even though it seeks to mark its own works as masculine and to sever the association with female writers and readers. Sensibility arose in men's poetry as a matter of expressing the refusal to the political situation and the social suffering. Whereas, it arose in women sensibility among their awareness of domestic needs and women suffering. In men's perspective the woman is a poem not a poet, and that was what we notice in Wordsworth poem â€Å"Lucy† as he used Lucy as a passive character, he interest in describing her beauty, but there were no considered to her intelligence.

Amazon.com Research Paper Example | Topics and Well Written Essays - 1250 words

Amazon.com - Research Paper Example The success of e-business depends on how long a customer spends time in an e-business website. Amazon did everything needed to tie up the customers in their website. They have formulated different strategies to attract the net customers. Most of the internet users are youths and Amazon.com has everything needed to attract the youth customers. This paper briefly analyses the history, supply chain management process, online auction features, competitors and current market position of Amazon.com. History Amazon.com was founded by Jeff Bezos in 1994 in America† (Amazon.com, Inc). Initially it started as an online bookshop. However it expanded its business during the late 1990s and diversified its business to areas such as to offer the CDs, videos, DVDs, electronics, toys, tools, home furnishings and house wares, apparel, and kitchen gadgets etc (Amazon.com, Inc, n. d). Amazon entered the internet world in 1995 and registered as a public company in 1997. In 1998, they entered the on line music and video business and in 1999, they started to sell toys, electronics, tools, and hardware using their e-commerce website. Though the company has started as an online bookstore, currently it has products such as music CD’s, VHS, DVD, computer software, video games, electronics, apparel, furniture, food toys, etc apart from books. It has started film production also in 2008. Amazon has several websites custom made for countries like Canada, Germany, France, China, UK, Japan etc. The company did not focus on profits for the initial five years and spend much of its revenues in expansions in the initial years. This business strategy brought immense dividends to the company as per the recent statistics. Current market position   Currently Amazon.com employs more than 7800 employees and as per the statistics of 2002, it has reported $ 3.9 billion sales (Amazon.com, Inc, n. d). It is the largest online retailer at present in United States. The closest competitor Staple s Inc has only 1/3 rd of the revenues of Amazon.com as per the statistics available in 2010. As per the recent statistics, it ranked 272 in the list of Fortune 500 companies. Supply chain management process Supply Chain Management (SCM) is the process of controlling the movements of goods or services from suppliers to buyers. The efficiency of supply chain management depends on the availability of the material based on the demand. There should not be more goods in the store if the demand is less; at the same time there should be adequate number of goods always if the demand is good. Amazon has one of the most efficient, sophisticated and advanced supply chain management systems in the world. â€Å"Homemade applications handle nearly every aspect of its supply chain: warehouse management, transportation management, inbound and outbound shipping, demand forecasts, inventory planning, and more† (Bacheldor, 2004). In other words, all the aspects of supply chain management are man aged with the help of advanced software at Amazon.com. The human intervention is very less in the supply chain management process and the machines are dominating in this sector. Thus the chances of human errors which may delay the supply chain management process are very less. For example, computers and software are assisting Amazon in taking orders, processing orders and in ensuring the delivery of goods in time. Whenever, an item is purchased from