Minorities

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Throughout history, minorities have been ill-represented in the criminal justice system, particularly in cases where the possible outcome is death. In early America, blacks were lynched for the slightest violation of informal laws and many of these killings occurred without any type of due process. As the judicial system has matured, minorities have found better representation but it is not completely unbiased. In the past twenty years strict controls have been implemented but the system still have symptoms of racial bias. This racial bias was first recognized by the Supreme Court in Fruman v. Georgia, 408 U.S. 8 (17). The Supreme Court Justices decide that the death penalty was being handed out unfairly and according to Gest (16) the Supreme Court felt the death penalty was being imposed "freakishly' and 'wantonly" and "most often on blacks." Several years later in Gregg v. Georgia, 48 U.S. 15 (176), the Supreme Court decided, with efficient

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controls, the death penalty could be used constitutionally. Yet, even with these various controls, the system does not effectively eliminate racial bias. Since Gregg v. Georgia the total population of all 6 death rows has grown as has the number of judicial controls used by each state. Of the ,1 people on death row 41% are black while 48% are white (Gest, 16, 41). This figure may be acceptable at first glance but one must take into account the fact that only 1% of the U.S. population is black (Smolowe, 11, 68). Carolyn Snurkowski of the Florida attorney generals office believes that the disproportionate number of blacks on death row can be explained by the fact that, "Many black murders result from barroom brawls that wouldn't call for the death penalty, but many white murders occur on top of another offense, such as robbery" (As cited in Gest, 186, 5). This may be true but the Washington Legal Foundation offers their own explanation by arguing that "blacks are arrested for murder at a higher rate than are whites. When arrest totals are factored in , 'the probability of a white murderer ending up on death row is percent greater than in the case of a black murderer" (As cited in Gest, 186, 5). According to Professor Steven Goldstein of Florida State University, "There are so many discretionary stages whether the prosecutor decides to seek the death penalty, whether the jury recommends it, whether the judge gives it" (As cited in Smolowe, 11, 68). It is in these discretionary stages that racial biases can infect the system of dealing out death sentences. Smolowe (11) shows this infection by giving examples of two cases decided in February of 11, both in Columbus. The first example is a white defendant named James Robert Caldwell who was convicted of stabbing his 10 year old son repeatedly and raping and killing his 1 year old daughter. Thesecond example is of a black man, Jerry Walker, convicted of killing a -year-old white man while robbing a convenience-store. Caldwell's trial lasted three times as long as Walker's and Caldwell received a life sentence while Walker received a death sentence. In these examples, it is believed that not only the race of the victims, but also the value of the victims, biased the sentencing decisions. The -year-old man killed by Walker was the son of a Army commander at Fort Benning while Caldwell's victims were not influential in the community. In examples such as these, it becomes evident that racial bias, in any or all of the discretionary stages, becomes racial injustice in the end. Smolowe (11) also makes the point that Columbus is not alone "A 10 report prepared by thegovernment's General Accounting Office found 'a pattern of evidence indicating racial disparities in the charging, sentencing and imposition of the death penalty." In an article by Seligman (14), Professor Joseph Katz of Georgia State "and other scholars have made a separate point about bias claims based on the 'devalued lives' of murder victims." Seligman also asserts that those claiming bias believe that it is in the race of the victim and not the race of the defendant, and because the lives of blacks have been "devalued,' people who murder blacks are less likely to receive death sentences than those who murder whites" (Seligman, 14, 11). An Iowa Law Professor, David Baldus, also found that "juries put a premium on the lives of victims" (As cited in Lacayo, 187, 80). In a study of more than ,000 Georgia murder cases, Baldus found that "those who killed whites were 4. times as likely to receive the death penalty as those who killed blacks. And blacks who killed whites were most likely of all to be condemned to die" (As cited in Lacayo, 187, 80). According to Gest (16), of those executed since the reinstatement of the death penalty, 80% have murdered whites, while only 1% of those executed in the same time period have had black victims. These figures show an obvious trend of racial bias against those who murdered whites. Could these disparities be because, as sociologist Michael Radelet put it, "Prosecutors are political animals, they are influenced by community outrage, which is subtly influenced by race," or is it because "it is built into the system that those in the predominant race will be more concerned about crime victims of their own race," as stated by Welsh White of the University of Pittsburgh Law School (As cited in Gest, 186, 5).Because of the immense possibility of discrimination in sentencing in capital punishment cases, each stage of prosecution must be controlled as much as possible. Although these offenders are the worst the criminal justice system has to offer, prosecutors must be encouraged to consider the crime and not the race of the victim or offender and the judge must attempt to exclude the same racial issue when deciding the punishment. I believe Justice Brennan said it best when he wrote the dissenting opinion in a capital punishment appeal. He wrote, "It is tempting to pretend that minorities on death row share a fate in no way connected to our own, that our treatment of them sounds no echoes beyond the chambers in which they die. Such an illusion is ultimately corrosive, for the reverberations of injustice are not so easily confined" (As cited in Lacayo, 187, 80). With great effort, the judicial controls can begin to battle the racial bias of Americas Judicial system but to completely eliminate such a bias, the people involved in the judicial process must learn to look past the race of the offender or the value of the victim, and instead focus on circumstances of the crime.

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Social Dimensions, Dramatic Irony, and Fashion in Three's Company

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Television -- particularly situation comedy television -- has been designated as everything from the one-eyed idiot box to the scourge of mankind. Had these indignities been truly merited, television would have been relegated to the storage room of failed inventions, somewhere between the electric vegetable peeler and the countless flying contraptions that could never quite become air-borne. The fact remains, though, that television, especially the aforementioned sitcom format, has persisted. Today, all successful sitcoms owe their prosperity to one particularly astute and revolutionary program Threes Company. Threes Company, which enjoyed a seven-year engagement from 177 to 184, boasted a premise which, despite being based on a previously existing British comedy, still managed a remarkable freshness and innovation. To the casual observers, Threes Company was a buoyant, insubstantial program, the sole purpose of which was to instill mirth. For the true observers, though, the experienced and open-minded television viewers, those with an eye for keen and succint, half-hour social commentaries, Threes Company explored prodigious cultural question marks and demonstrated a powerful understanding of human nature. Threes Company dealt with everything from homosexuality to rebellion against establish-ed conventions, from the relevance of dramatic irony to the injustices of the con-temporary workforce, and from the trials and tribulations of marriage to the human beings shadowy, hidden dimensions. This program even prompted the discus-sion of characterization through fashion. Truly, Threes Company was a profound and sagacious cornerstone of popular culture. The first observation one would make, even with a cursory glance at the program, was its premise. An aspiring chef named Jack Tripper lived in an apart-ment with two women, florist Janet Wood and secretary Chrissie Snow (later, Chrissies cousin Cindy took her place for a short time, before being replaced for the remainder of the program by nurse Terry Alden), and enjoyed a perfectly Pla-tonic relationship with them. In spite of Jacks light-hearted libidinous advances, the characters never once succumbed to the more base desires, and instead op-ted for a friendly, non-romantic relationship while engaging in the preposterous exploits that made the show famous. While perhaps not so revolutionary today, in 177 this mixed-gender arrangement was the cutting edge of social habitation. Like many revolutionaries who had to operate in secret, such as J. Robert Oppenheimer and societies like the Molly Maguires, Jack and the girls, had to conceal the true nature of their circumstances. Knowing the landlord, Mr. Roper, an ill-tempered traditionalist, would never allow such an arrangement, the charac-ters told him, and later maintained the impression that, Jack was homosexual. That these characters had to resort to a pretense of this nature illustrated how contrary their behavior was to social convention. Jack adopted a persona that, in 177, was still taboo and in the closet, so to speak, in order to get away with an equally taboo and misunderstood situation. That he was willing to exchange one negative perception of him for another equally negative one disclosed how strong-ly Threes Company stressed the necessity to rebel against conventions and social norms, no matter the cost. Another social issue treated in numerous episodes was the difficulty in-herent in belonging to the contemporary American workforce. The Threes Com-pany characters faced innumerable problems in their places of employment. Terry, the nurse, was constantly overworked at the hospital, usually on the grave-yard shift, to borrow a phrase she abhorred. Janet was under tremendous pres-sure at the flower-shop, facing impending deadlines, difficult customers, lustful bosses, and even the occasional efficiency expert, called in to supervise the pro-ceedings. Jack, the hard-working chef, was also under dreadful pressure from his overbearing boss, Mr. Angelino. The hot-tempered Italian had a habit of firing Jack during fits of rage, and then rehiring him once he, Mr. Angelino, had calmed down. Even Ralph Furley, the eccentric second landlord of the characters apart-ment building, seemingly in control of his destiny, always had to answer to a high-er authority the owner of the building and Mr. Furleys own brother, Bart. The role the workforce plays in the average citizens life was made lucid by the pres-sures and insecurities faced by these characters. The considerable challenge of holding down a job was exhibited unequivocally in Threes Company, yet the cha-racters managed quite well to both pay their rent and to enjoy rewarding leisure time. Threes Company conveyed the message that such a balancing act, if pos-sible for these average, personable characters, is in fact a universally achievable goal. It must be stressed, though, that in living together, these characters did not, at any time, form any romantic attachments with one another. No two principle characters ever married any other main character, nor did the writers suggest that such an eventuality would ever take place (excluding the odd time when, for what-ever ludicrously-complex reason, marriage required simulation). This Platonic re-lationship served as a contrast to the marriage of the original landlords, the Ropers. Stanley and Helen Roper exhibited a union that, in all outward appear-ances, was terribly dysfunctional. Helen was a hopeless romantic, but Stanley was a tight-fisted, apathetic, and sometimes downright mean-spirited man. Their rancor was amusing to watch, but only because we knew that, at heart, Stanley was an old-fashioned knight-in-shining-armor. Though he would have never ad-mitted it, Stanley loved his wife dearly. We have seen how swiftly he could rush to her rescue and we have watched his heart-broken, desperate pining when the possibility arose that Helen might leave him. Through the Ropers marriage, Threes Company made clear its beliefs about love and long-term commitment. Additionally, when the series ended, all three characters were happily married (though, of course, not to each other) -- the classic comedic ending -- further illustrating the link Threes Company made between ideal marriage and hap-piness. Being the consummate program that it was, though, Threes Company was careful to provide the opposing viewpoint. Through Mr. Furley, the confirmed bachelor, Threes Company proved that the ever-changing world of the unattach-ed individual can be very satisfying, and that marriage is not the only source of happiness.

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Threes Company had a sound grasp of the human character and took pains, despite its being a comedy, to depict the darker side of humanity. In per-haps an effort to avoid alienating them from the audience, none of the main cha-racters were ever shown having an overtly dark side. That is not to say they were perfect -- they had their quirks, their fears, and their malevolencies -- but rather they derived insight into the nebulous nature of humankind through the occasional frightening event that would occur. For example, in a memorably-dark episode, Jack was convinced a new tenant was an international bank robber who had just murdered his wife in the next apartment. In another episode, Janet and Jack found compelling evidence that Cindy had been forcibly kidnapped by a knife-wielding maniac. These two incidents were revealed as elaborate misunderstand-ings (the murderer was actually a ventriloquist and Cindys kidnapper was her elderly father), but the characters were not always so lucky. Jack was once arrested after being targeted and framed by diamond thieves. Janets flower shop was once robbed. Mr. Furley had his heart broken by a con artist. Together, the characters dealing with deleterious events, those both real and grotesquely exag-gerated, illustrated that dire things can, and do, befall even the most innocent and well-meaning of people. Threes Company rarely put its characters in any real danger, but vividly expressed that danger, both criminal and moral, does exist in other people and sometimes must be confronted. In continuing to humorously explore the somewhat less positive dimensions of the human being, Threes Company used dramatic irony -- when the audience is privy to information not known to the characters -- to illustrate how prejudice, misinterpretations and taboos can cloud our perceptions. Because of the human preoccupation with sex, dramatic irony was virtually always of a sexually-suggestive nature on Threes Company. For example, in one episode, Terry believed Jack was giving the wife of a colleague love lessons in the kitchen. Mr. Roper once thought a lurid diary belonged to Chrissie and that she was conse-quently in love with him. Jack thought a party being thrown for him was for reasons other than his graduation from chef school, so he put sawdust in the cake as a means of revenge. Despite the comical results of these incidents (Jacks associate ended up with a bowl of chicken cacciatore on his head, Mrs. Roper succumbed to a hysterical laughing fit, and Mr. Roper found the cake delicious), the dramatic irony was very revealing of human insecurities. The unconscious, Freudian taboos on sex came stampeding forth thanks to these misunderstandings. Threes Companys sexual morality was often evident in these ironies as well, as in the time Mr. Roper overheard Chrissie referring to a wart on her finger, thought she was pregnant, and was convinced she was about to abort the child. Threes Companys anti-abortion stance was made clear through Mr. Roper. Also, Mr. Furley, ever the homophobe, would constantly mis-understand Jacks statements as come-on lines, allowing Furley to expound his, and some would say the shows, opinions on sexual orientation. Although modern critics would argue that Threes Companys values are now archaic, it is unde-niable that the show believed strongly in its once revolutionary, now conservative politics, and naturally, the shows dated appearance provides a vivid roadmap for the changing values of North American culture. The extraordinary people in Threes Company who personify this changing culture were characterized in numerous ways, not the least of which was fashion. As their personalities often clashed on the small screen, so did their attire. Jack, Janet, and Chrissie (and later Cindy and Terry) were dressed in the popular cloth-ing of the time. Their average, utilitarian fashions reflected the everyday, blue-collar ambition the three actors were trying to portray in their characters. Con-versely, not all the characters had such admirable traits. Enter Larry Dallas, Jacks best friend and upstairs neighbour. Larry was a womanizing, scheming, used-car salesman a prime example of Platos unjust man. Larrys character reflected clearly in his ubiquitous, shiny, purple corduroy trousers, his debauchery revealed in his open-chested shirts and tasteless plastic neckties. No discussion of Threes Company, though, would be complete without an analysis of Ralph Furleys wardrobe. Mr. Furley possessed the most colorful, complex, and visually-astounding set of clothing of any character on television. His hallucinogenic Hawaiian shirts, bright yellow and pink cravats and pastel-colored pants reflected the myriad facets of his character. At heart, Ralph Furley was the most pleasant, congenial man one could hope to meet, but he used his loud and flashy wardrobe to conceal his insecurities. Afraid of failure, Mr. Furley assumed a calm, macho persona, which, unfortunately for him, was prone to spectacular collapses. Mr. Furleys frenzied shouting and hyperventilation re-vealed an extremely sensitive, emotional man. His presumptuous strutting and preening was humorous because it was so obvious and so very fragile. Mr. Furley came across as a sympathetic character whose soul was as broad as his shirt collars. In that small, two-bedroom, Californian apartment, we, as viewers, were treated to a seven-year long microcosm of society. Threes Company used tactful yet biting commentary on social conventions such as marriage and the nuclear family to illustrate both mankinds strengths and insecurities. Threes Company used startling dramatic irony in exploring our sexual attitudes. This program even managed to employ fashion to unveil the uniqueness in each person. Threes Company was a distinct, memorable portrait of a more innocent time; a time that thought, perhaps somewhat naively, that it was in the throes of vigorous change. More accurately though, Threes Company was actually pointing toward an even more complex and transient time to come.

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Protection Mechanism of MS- Excel

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Protection Mechanism of MS- ExcelMicrosoft Excel provides the following security and protection featuresæ You can limit access to each individual worksheet.æ You can limit changes to an entire workbook. Help with essay on Protection Mechanism of MS- Excel

æ You can protect workbook sharing and the change history.æ You can limit access to a workbook by requiring a password to open it or save it, or you can recommend that others open the workbook as read-only.æ You can check for macros that might contain viruses whenever you open a workbook. Microsoft Excel provides several ways to restrict how users can view or change data in workbooks and worksheets.æ Can prevent others from changing some or all of the contents of an individual worksheet, viewing hidden rows or columns, viewing formulas, changing graphic objects, or changing saved scenarios.æ Can prevent others from adding or deleting worksheets in a workbook or viewing hidden worksheets. One can also prevent others from changing the size and position of the windows for a workbook, removing a shared workbook from shared use, or turning off the change history.æ Can limit who can open and use the data in a workbook by requiring a password to open or save the workbook. One can also recommend that others open the workbook as read-only.æ To hide an entire workbook so that users cant see it but can gain access to its contents, use the Hide command on the Window menu, and then save the changes to the hidden workbook.c) MacrosIf a task to be performed repeatedly in Microsoft Excel, it can be automated with a macro. A macro is a series of commands and functions that are stored in a Visual Basic module and can be run whenever it is needed to perform the task. Macro to be recorded just as music is recorded with a tape recorder. You then run the macro to repeat, or play back, the commands.Before to record or write a macro, plan the steps and commands you want the macro to perform. If there is a mistake while recording the macro, corrections you make will also be recorded. Each time a macro is recorded, the macro is stored in a new module attached to a workbook.With the Visual Basic Editor, one can edit macros, copy macros from one module to another, copy macros between different workbooks, rename the modules that store the macros, or rename the macros.d) Auditing The navigation path of Auditing Toolbar is Tools --„³Auditing.When a formula is created on a worksheet, Microsoft Excel can give visual cues to the relationships between the cells that provide values to the formulas or the cells that depend on the formulas. By using the commands on the Auditing toolbar, one can locate the cells that provide data to the formula in the active cell, or can find the cells that depend on the value in the active cell. If formula displays an error value such as #VALUE! or #DIV/0!, the auditing commands (Tools menu, Auditing command) can locate the cell that is causing the error. The Auditing toolbar has 4 major buttons i.e. Trace Precedence, Trace Dependents, Trace Error, Remove all Arrows. The basic function of Auditing isæ Locate formulas that use the value in the active cellæ Locate cells that provide data to a formulaæ Locate cells in another worksheet or workbook that provide data to a formulaæ Locate cells that cause errors in a formulaæ Locate or change the cells a formula refers to by using Range Findere) Purpose of Auto FillBy dragging the fill handle of a cell, one can copy that cell to other cells in the same row or column. If the cell contains a number, date, or time period that Microsoft Excel can extend in a series, the values are incremented instead of copied. For example, if the cell contains January, you can quickly fill in other cells in a row or column with February, March, and so on. One can create a custom fill series for frequently used text entries, such as your companys sales regions.Auto filling is generally used foræ Copy data within a row or columnæ Fill in a series of numbers, dates, or other itemsQ. With respect to MS-Word what are the following and how are they achieved.a) Mail MergeThe Mail Merge Utility has Steps,I. Create a Main Document A mail-merge main document can be a new or existing document, a catalog, a membership directory, a parts list, or a WordPerfect primary file.II. Data Source If a data source is created by using the Mail Merge command on the Tools menu, Word sets up the data source in a table. The table contains a column for each data field in the data source. The field names are listed in the first row of cells - the header row. Each subsequent row contains one data record.If existing data source is used or set up the data source in a table or spreadsheet ,the following rules to be followedæ Unless the data field names are listed in a separate header source, the first row of cells must contain the header row. Make sure that there are no spaces, text, or blank lines above the header row.æ Each data record must have the same number of data fields (columns) as the number of field names in the header row.æ Place information for each record in the correct column. If a record doesnt have information for a particular field, leave the corresponding cell in that column blank.III. Merge the data with the document¡Pb) Theme Feature A theme is a set of unified design elements and color schemes for background images, bullets, fonts, horizontal lines, and other document elements. A theme helps you easily create professional and well-designed documents for viewing in Word, in e-mail, or on the Web.Unlike a template, a theme does not provide AutoText entries, custom toolbars, macros, menu settings, or shortcut keys. A theme provides a look for your document by using color, fonts, and graphics.When a theme is applied to a document, Word customizes the following elements for that document background color or graphic, body and heading styles, bullets, horizontal lines, hyperlink colors, and table border color.One can apply a new theme, change to a different theme, or remove a theme by using the Theme command on the Format menu. Before applying a theme, one can preview sample page elements in the Theme Preview pane by selecting the theme from a list. Before applying a theme in the Theme dialog box, one can also select options to apply brighter colors to text and graphics, animate certain theme graphics, or apply a background to your document.

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Egyptioans and Death

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Death is something a person must prepare for. You need to choose what kind of burial you would like, where you would like to be buried, and how to disperse your earthly possessions. In ancient Egypt, not only did you have to prepare the things above, but you also had to provide for the eternal care of your soul. This was the function of much Egyptian artwork. The Egyptians artwork also functioned as propaganda for the ruling class. It explained why they deserved to be in their positions of power, above anyone else.Egyptians were obsessed with death. They believed that when you die your soul has the opportunity to continue to live. If they passed the trials of the gods they believed they were able to enter the underworld, ruled by Osiris. From there they could return to the living world to enjoy all the earthly pleasures they had enjoyed while their body was still alive. To do this however, they had to have a likeness in the form of a statue for their soul to inhabit, since they no longer had a body. They had to provide their souls with nourishment and entertainment. People made agreements to continue to bring food and drink to the deceaseds burial area. Also, in case they ended up not fulfilling their end of the bargain, Egyptians would have many pictures put in their burial area of food and drink, activities they enjoyed while alive, and people they were familiar with.Much ancient Egyptian art we have today are statues from tombs, and paintings and relief's, which decorated Egyptian tombs. The statues provided a place for the soul to reside. From inside the statue the soul could look out and enjoy the provisions provided for it. It also could watch any rituals or offerings the souls descendants carried out. The paintings and reliefs sometimes gave directions on how the deceased could manage to survive the afterlife. Other times they depicted additional food and drink for the soul, and entertainment in the form of the deceased engaged in activities he/she once enjoyed in life. To represent was, in a way, to create, and Egyptian representation in both two and three dimensions was bent on creating images that would function as a meaningful part of the cults of the gods and the dead. (Gay Robins, The Art of Ancient Egypt, pg 1).

Egyptian art can be called unchanging. The changes that did occur throughout the kingdoms were very slow and would first be incurred on art for the lower classes. These changes would eventually move up through art for high-ranking officials, to finally be included in the works for the kings and queens. Egyptians used a standard of proportion. This standard broke the figure down into a grid, each square equaling the width of the figures fist. The height of the male body equaled eighteen times the width of the fist. The knees were placed on the fifth line up, the elbows were on the twelfth, and the area where the neck and shoulders met was on the sixteenth. The specific measure employed and the proportions derived from it varied slightly over time, but the underlying concept and the means by which it was implemented did not. (Marilyn Stokstad, Art History, p. ) Egyptians depicted each part of the body from the most recognizable view. They showed heads in profile, eyes and shoulders from the front, and at the waist they turned the figure 0 degrees so that the hips, legs and feet are in profile. Limbs were lengthened so that all parts of the body are visible. Most commonly, one foot is in front of the other, and both feet are shown from the inside, so that on both feet you can see a big toe. The figure is on a ground line. An excellent example of this is in an Akhtihotep Relief, early Dynasty 4, ca 575-551B.C. from Saqqara, Limestone. In this fragment you can see the ground line the figures are strategically placed on, and the careful display of each body part in its most revealing view. The head is in profile, and the waist is twisted. In sculpture, the position of the figure was more lifelike, but was most often in a frontal position. This was for its placement in architectural niches where the statue would only be seen from the front. Males were usually painted red, and women white. In relief sculpture artists rarely mixed colors, they used black, white, red, yellow, blue and green. If artists wanted to create depth they would over paint the base colors with the contrasting colors. This was a standard until the 18th Dynasty. Throughout Egyptian history, the art pieces for the lower class were much more relaxed than that for the high profile officials. Lower-class portraits are more soft and naturalistic, and show more realistic movements. This demonstrates the skill of the Egyptian artists. They were capable of creating a more natural-looking form, but did not for the sake of the arts function. Even though standards did prevail throughout the different periods in Egyptian art, technical advancements were still made according to the tastes of the time. These advancements can sometimes be linked with religious beliefs. For example in the Old Kingdom in it was believed that the pharaohs were direct descendants of the gods. Thus the pharaohs were described in art as perfect beings in close contact with the gods. These pieces also worked to validify the kings place on the throne by explaining his lineage as being descended from the gods. The statue of King Sahure and a Gnome God (Dynasty Five, reign of Sahure, ca. 458-446 B.C., Metropolitan Museum of Art), depicts the pharaoh as regal, athletic, and powerful. A god is extending an ankh, the symbol of life toward him. The god and the pharaoh are extremely similar in appearance, except the god is smaller. There is no open space in the sculpture, the king and the god are tied together by the stone they both are created from. The serpent crown is on the kings head and the god has one foot striding forward, with his weight on his back foot. Both figures represent the Egyptian ideal of the human figure. The sculpture itself, while beautiful is extremely stiff and staged. The king is looking out with an air of total confidence and power. Old Kingdom statues of the pharaoh were only made of stone. It is not until the Middle Kingdom that some were also made of wood. In the Middle Kingdom the belief that the pharaohs were descendants of the gods faded. The royal lineage was broken. Kings were seen as normal people who achieved the throne. Artists reflected this by moving toward softer, more realistic portrayals of their subjects, and also by beginning to use wood in the pharaohs statuary. A moving example of a more sensitive portrait is in the fragment of the stone portrait of King Senwosret III, (Dynasty 1, Quartzite). When looking at this, I see someone with profound concerns, who is deep in thought, absorbed. It is not as in the Old Kingdom statue of King Sahure, who appears confident, and in control. Senwosret III shows a monarch preoccupied and emotionally drained. (Stokstad, pg 11) The skin of the face is drawn down. The eyes are weighty. The whole face seems to be weighted down in thought. The New Kingdom is an era of dramatic change in art, mostly due to a radical new monarch who went against the grain of Egyptian thought. His name was Amenhotep IV, which he later changed to Akhenaten, (One Who Is Effective on Behalf of Aten), (Stokstad, Art History, p.10), in keeping with the new monotheistic religion he founded based on the sun deity, Aten. This Egyptian period is known as the Amarna period, called so for the modern name for the area where Akhenaten made his capital, which is Tell el Amarna. Akhenaten placed emphasis on the principal of divine truth, or Maat. This emphasis followed in the arts. The figure began to take a more naturalistic shape as well as to be true portraits of the people the artists were depicting. No longer was everyone a perfect example of the ideal Egyptian body type. People now had soft skin and rounded bellies. Age was represented accurately. Akhenaten urged his artists to portray the royal family in informal situations. (Stokstad, Art History, p. 10) In the Two Princesses, (Dynasty 18, Akhenaten, ca. 15-16B.C., middle to late reign, painted limestone) you can see that ...the casual pose and the fully frontal depiction of the older sisters torso are unparalleled among royal figures and are extremely rare in any type of representation during other periods of Egyptian art.(Metropolitan Museum of Art, Wall Text.) Even though this is only a wall fragment you can see a kind of carefree fluidity that has not existed before in Egyptian art. I am also going to bring your attention to another wall fragment at the Metropolitan Museum of Art dating to the Amarna period. In the following wall fragment you see a cluster of women. The cluster does not appear to be based on any specific ground line; the women seem thrown into a crowd. This is extremely different from the more standardized layout of Egyptian art. Akhenaten tried to move Egyptian thought from death to life, instead of thinking about the dark future, he wanted people to think about the present. Akhenaten acclaimed himself as the only one able to communicate with the god, Aten. This was reiterated in propagandistic fashion again and again through the art he commissioned to be made of himself and the royal family. In the relief, Akhenaten and His Family from Akhetaten (modern Tell el Amarna Dynasty 18, c. 15-16 B.C.E., painted limestone relief, 1 1/4 .x 15 1/4, Staatliche Museen zu Berlin, Preussicher Kulturbesitz, Agyptisches Museum), Aten is shown as the sun reaching down to Akhenaten, Nefertiti, and their three daughters. Some of Atens rays are holding ankhs up to the noses of Akhenaten and Nefertiti. Akhenaten replaced images of the gods in peoples lives with images of himself and his family. He then became the god to be worshiped. After Akhenatens death Egypt returned to its more conservative views, but the Amarna period left an indelible mark on the art of Egypt.It is astonishing to see how with the acceptance of new ideas, such as Akhenaten and his divine truth, art is affected. Egyptian artists were always capable of making a more naturalistic form, but decided to relinquish that for a standard that operated more for its functionality in the tombs of the deceased.The goddess Maat represents the ideals of law, order, and truth. The word, Maat translates that which is straight. it implies anything that is true, ordered, or balanced. She was the female counterpart of Thoth. Maat also plays an important part in the Book of the Dead. It is in the Hall of Maat the judgment of the dead was performed. This was done by weighing ones heart (conscience) against the feather of Maat. If a balance was struck the deceased was deemed to be worthy of meeting Osiris in the after life. If the heart of the deceased was found to be heavier then the feather of Maat it would be devoured by Ammut. (http//members.aol.com/egyptart/maat.html)On an educational field trip to the MET I admired the Khnum-nakht wooden coffin in the Egyptian Art wing. Coffin of Khnum-nakht, ca. 1001800 B.C.E.; Dynasty 1; Middle Kingdom Egyptian; Possibly from Asyut. Painted wood; L. 8 in. (08. cm) Rogers Fund, 115 (15..) Coffin, art from the Middle Kingdom". (Ref image 1.1)(http//www.metmuseum.org/collections/view1.asp?dep=10&full=0&item=15%E%E) The most noticeable features on this painted coffin are the goddess at the head (identified by the inscriptions as either Isis or Neith, two of the four goddesses who protected the mummy), her hands raised in a gesture of protection, and the eye panel on the long side to the left. Eyes were powerful symbols of protection, guaranteeing that the deceaseds body would remain undisturbed. Eyes painted on coffins had further significance. Coffins were always placed in the tomb with the eye side facing east. Inside the coffin the mummy, lying on its side, could look through the painted eyes at the rising sun, symbol of rebirth. Below the eyes is an elaborate version of the so-called false door, through which the spirit could come and go, spending the night in the mummy but leaving at dawn to live again in the world. (http//www.metmuseum.org/explore/newegypt/htm/wk_coff.htm)The artwork of ancient Egypt remains a never-ending source of interest for many in today's modern world. As noticed, painting seems to be the most intriguing and insightful medium of expression used by the Egyptian artisans. Robins,Gay., (001). The Art of Ancient Egypt. Harvard University PressStokstad,Marilyn., (001). Art History, Vol. (d ed.). Prentice Hall Professional Technical ReferenceMetropolitan Museum of Art. Dynasty Five, reign of Sahure, ca. 458-446 B.C., King Sahure and a Gnome God. New York, METMetropolitan Museum of Art. Dynasty 18, Akhenaten, ca. 15-16B.C.New York, METMetropolitan Museum of Art. Akhenaten and His Family. Modern Tell el Amarna Dynasty 18, c. 15-16 B.C.E. New York, METEgyptian Symbols and Definitions. Retrieved July 15, 00, from http//members.aol.com/egyptart/symlst.htmlEgyptianGoddess-Maat. Retrieved July 15, 00, from http//members.aol.com/egyptart/maat.htmlEgyptian Art. Retrieved July 15, 00, from http//www.metmuseum.org/collections/view1.asp?dep=10&full=0&item=15%E%E Please note that this sample paper on Egyptioans and Death is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Egyptioans and Death, we are here to assist you. Your cheap custom college paper on Egyptioans and Death will be written from scratch, so you do not have to worry about its originality.

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Blah

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Oh blah blah blah...The exposition of Ethan Frome introduces us to the narrator as he arrives in Starkfield, Massachusetts. He notices a silent, disfigured man by the name of Ethan Frome, and begins to gather information about him. Ethan is suggested to drive the narrator to and from Corbury Flats in the middle of a winter storm, because the local horses had fallen sick with a local epidemic. On a particularly stormy night, the narrator is forced to stay overnight with Ethan. The story of his earlier life begins with a flashback of Ethan bringing his wife's cousin Mattie Silver home from a dance at the village church. He is transfixed by the young, vibrant woman who also returns his fondness. Ethan's wife Zeena is a hypochondriac is constantly calling attention to her ailments. She leaves one day for an overnight visit to a doctor in a neighboring town. Leaving Ethan and Mattie alone together for the night, they use Zeena's treasured pickle dish in celebration at dinner. The cat knocks it to the floor and it shatters. This is one of many complications that occur, and it creates many others. The next day Ethan purchases glue for the dish, but when he returns from town he is informed that Zeena has arrived home. He goes upstairs and she tells Ethan that her health is deteriorating rapidly. In light of this fact, she opts to replace Mattie with a more competent hired girl. Ethan resents this, but is obligated to obey. The next day Ethan decides to drive Mattie to the train station himself, against Zeena's wishes. The two are dejected at the thought of leaving one another, and take the longest possible route to the station. They eventually stop near the church, at a sledding hill which they had long ago promised to coast. A successful first run prompts a second one, but with a different intentions. The story climaxes when Mattie persuades Ethan to commit suicide by sledding into a large elm tree, allowing them to end their misery of being apart. They survive the crash, but in denouement, they are both severely maimed. The story then moves back into the narrator's present time, and the resolution occurs when the narrator and Mrs. Hale settle down to an intimate discussion mourning Ethan's tragic fate.

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Personal

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Personal Goals 1Personal Goals PaperErick PerezGEN 00

Custom Essays on personal

DR. Flo RichmanJune 0, 00 Personal Goals Personal Goals Paper As a new student at the University of Phoenix I have set many goals for myself.One of my main goals is to obtain my degree. I attended Montgomery College in the past,but I found myself trying to do too much at one time. Meaning working full-time and taking to classes per week was very strenuous and exhausting for me. I attended Montgomery College for years and in that time span I only obtained about 40 college credits. I didn't apply myself as well as I could have, as a student, most of the time I found myself in a rush, due to work and other things going on in my life. The University of Phoenix is more or less a new beginning for me. Because, of my hectic work schedule and sometimes lack of effort. I found myself turning in assignments late and withdrawing from classes, I thought I could not handle. This was a very unpleasant situation for me, my grades suffered tremendously. I felt that was throwing money away at times. That is not a situation; I would want to be in again. I plan to do everything that I should have done before, attending class, meeting with my team and completing all my course work are my primary objectives. Maintaining an above average GPA is very important to me. Prior to enrolling at UOP I was unaware of their leaning techniques. Learning through teams is something I can use in the work force. I have always been the type of person who takes on a task alone. Now, I do not have a choice in the matter, which is a good thing. Working with my teammates will enable me to learn from their experiences and see different points of view. I also think that working with other team members will eliminate the factor of someone "slacking off". Not, only are you responsible for yourself Personal Goals but your team is counting on you to do your part as a fellow student. The accountability factor for a student to work well with the others is very important Attaining my college degree is very important to me, not because I have been at it for a long time. But, because of all the competition there is in the job market. Most of my co-workers who are in the same position I'm in have their bachelors or are working on a master's degree. I do not feel as if they are more qualified than I am but I need to better myself as a working professional. When I leave the company I am currently working for I do not intend to leave with just experience. After I finish with my bachelors I intend to pursue a master's degree. Even though I am still in my twenties I fill that I have a lot of lost time to make up for, I did not start college until I was years old. In all, I know I have set very attainable goals for myself. This is a new experience that I will enjoy. Working with my team is something I look forward in doing. I know I will learn from what they have to offer. I believe my team brings a lot of cultural diversity to the table, which will be instrumental in completing our projects. Once, I obtain my degree, I will feel that most of the hard work is over. It will be one of my most important accomplishments in life, aside from graduating boot camp. I will consider it my new beginning after UOP. Personal Goals 1Personal Goals PaperErick PerezGEN 00DR. Flo RichmanJune 0, 00 Personal Goals Personal Goals Paper As a new student at the University of Phoenix I have set many goals for myself.One of my main goals is to obtain my degree. I attended Montgomery College in the past,but I found myself trying to do too much at one time. Meaning working full-time and taking to classes per week was very strenuous and exhausting for me. I attended Montgomery College for years and in that time span I only obtained about 40 college credits. I didn't apply myself as well as I could have, as a student, most of the time I found myself in a rush, due to work and other things going on in my life. The University of Phoenix is more or less a new beginning for me. Because, of my hectic work schedule and sometimes lack of effort. I found myself turning in assignments late and withdrawing from classes, I thought I could not handle. This was a very unpleasant situation for me, my grades suffered tremendously. I felt that was throwing money away at times. That is not a situation; I would want to be in again. I plan to do everything that I should have done before, attending class, meeting with my team and completing all my course work are my primary objectives. Maintaining an above average GPA is very important to me. Prior to enrolling at UOP I was unaware of their leaning techniques. Learning through teams is something I can use in the work force. I have always been the type of person who takes on a task alone. Now, I do not have a choice in the matter, which is a good thing. Working with my teammates will enable me to learn from their experiences and see different points of view. I also think that working with other team members will eliminate the factor of someone "slacking off". Not, only are you responsible for yourself Personal Goals but your team is counting on you to do your part as a fellow student. The accountability factor for a student to work well with the others is very important Attaining my college degree is very important to me, not because I have been at it for a long time. But, because of all the competition there is in the job market. Most of my co-workers who are in the same position I'm in have their bachelors or are working on a master's degree. I do not feel as if they are more qualified than I am but I need to better myself as a working professional. When I leave the company I am currently working for I do not intend to leave with just experience. After I finish with my bachelors I intend to pursue a master's degree. Even though I am still in my twenties I fill that I have a lot of lost time to make up for, I did not start college until I was years old. In all, I know I have set very attainable goals for myself. This is a new experience that I will enjoy. Working with my team is something I look forward in doing. I know I will learn from what they have to offer. I believe my team brings a lot of cultural diversity to the table, which will be instrumental in completing our projects. Once, I obtain my degree, I will feel that most of the hard work is over. It will be one of my most important accomplishments in life, aside from graduating boot camp. I will consider it my new beginning after UOP.

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Culture

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I think that each person at some stage at his or her lives, wander what culture is all about. I personally think about that often. In order for a person to appreciate their family, friends and all the other people around them, one must understand what culture is all about. Culture is a body in a way of how we behave. In my opinion culture is the way same people live in a different societies. People, who have different meanings, promise rules and norms. The most important thing which culture gives us is an identity or an understanding of which we really are. Things like race is only a physical appearance of a person, nationality is a citizenship which one has. But if we look inside of each individual of different culture, we will find that we all the same people. We all have feelings, understandings and our blood is the same color. Each culture has it's own opinions and in order for us to communicate with each other, we need to learn other understandings to life. For example Christianity and Judaism are very different in certain understandings. Islam's and Hinduism are also very different from each other. But we all people who try to survive in one way or the other in order to make our lives happy and love of our close ounce. I personally come from Russian-Jewish family were we tried to keep our understandings and believes. We try to pass it from generation to generation in order not to lose our family believes and understandings. About fifty or sixty years ago Jewish people could not even practice or talk about their religion. Why? Because Jewish people were not considered to be people. People had to hide their nationality or religion in order to survive in that country. My grandparents had to change their last names because otherwise they would have to live the country. Jewish person could not get in to a good school or find a good job. And if one of their closest relatives would live somewhere to find better life, they would be considered as enemies. When my aunt came here twenty-five years ago, my grandmother had to live her job because her relative left to United States. The reason why I' m writing about all that is because I never had a chance to really find out what my religion was all about. That is the reason why I am here. But one of the biggest concerns of my country was to have a discipline of how people look at life. Today my topic is going to be "having children before marriage is not allowed in Russia. "That was the big concern which every person who as born in Russia knew about. If a young girl or even an older woman whether she planned to get married or was married at some point in her life could never have children before the wedding. It was so embarrassing for the family that sometimes, they would have to live one city and go somewhere else where nobody knows them. I interviewed few people who are different age, they all came from Russia at different time and it is funny how they all answered the same .The first person was my friends great-grandmother. She is ninety years old, when I asked her a question of "what does she think of having kids before marriage?" She looked at me and started to laugh. She said this free country spoiled you young lady? So I had to explain to her why do I need this for .She was embarrassed to talk to me about that, but she started to talk. She said "if I would come home saying to my mother or father that I had some kind of kiss with any guy, they would punish me for the rest of the month." So I said why did you have to say it to your parents if you knew the outcomes .She said that the time was very different then now. All children (and I do not mean small children, I am talking about 18-0 years of age) were raised the way to say everything to their parents, because they were smarter and had more knowledge in life. She said that they were so naïve that they did not even know where the children were coming from and never asked their parents. So I was curious when they got married and planned to have children where the knowledge were coming from? She said that it was naturally. Then I asked my mother, she was always open with me and tried to explain to me everything as clear as possible. One of the biggest reasons why she was so open with me is because her mother (who is my grandmother) was always embarrassed to talk to her about all that. It seemed like my mother was more modern already; she was more open and understanding the modern life. But from day one, she was telling me how embarrassing it was for a girl to have a child and not to have a father around him. And not only that she always tells me how hard it is to raise a baby by yourself financially and physically. The child always needs two parents to raise him/her. Then that baby grows out to be a normal and smart human being with the logical common cent. I have a great family where I am unfortunately the only child, but I always had a mother and a father to be there for me. I never knew what it is like to grow up in a family where it is fighting all the time or divorce. Of course I agree different situations in life might occur, but Russian families are very close. They do not believe in divorce. The third person who I interviewed was my cousin he is about the same age as me. He looks at that topic a little different already then my mother, more modern. But even thought he is a young and popular guy, he said the family must be close and only when you know that you want to be with a person more or less 100%, then you can plan to have kids. If the young girl gets pregnant in Russia and she is not married, most of the time guys marry them and then they have miserable lives. In conclusion I want to say that this beautiful country gives you freedom to do what ever you want. Ant I see a lot of young girls who have children first and then decide to get married or not. I never judge anybody because everybody have it's own opinions of how to live and make their lives better. But I personally think that because of all that, children are those who suffer the most. They don't know who their fathers are and sometimes it makes some people mad. This makes them to go and hurt other people. What I got from those interviews that people with generations become more educated and of course I can not tell you that I do not know where children are coming from. But I can tell you for sure that I will try to teach my kids as best as possible to understand that everything has to be in order. First love, then marriage, then comes a baby in a carriage. For me child is something that God gives you, and you have to appreciate every step of it's being. I hope that every woman who grows up understands those first needs to be a good husband only then he will be a good father.

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