Practice and Exercise Question Essay Example for Free

Practice and Exercise Question Essay Why is it important to use systems analysis and design methodologies when building a system? Why not just build the system in whatever way seems to be â€Å"quick and easy? † What value is provided by using an â€Å"engineering† approach? It is important to use systems analysis and design methodologies when building a system because it improves organizational systems that can help employees reach important business tasks easily and more efficiently. Although, quick and easy is just that, it might not work properly. It is best to have a design and a way to improve. Using the â€Å"engineering† approach will allows you the option to add or remove any pieces that does not work well in your design. 8. How might prototyping be used as part of the SDLC? Prototyping is building a small model of the information system you want to design. This can be very useful because you are able to see, in smaller scale, how your information system will work. When used as a part of the SDLC, it can help the analyst understand what the user wants. With the prototype, you are also able to make changes based on user needs, and then see how well the changes work. Chapter 2 3. In the section on choosing off-the-shelf software, eight criteria are proposed for evaluating alternative packages. Suppose the choice is between alternative custom software developers rather than prewritten packages. What criteria would be appropriate to select and compare among competing bidders for custom development of an application? Define each of these criteria. The eight criteria for evaluating alternative packages are cost, functionality, vendor support, viability of vendor, flexibility, documentation, response time, ease of installation. I believe that vendor support would best the most important criteria to use on deciding which path to take. With custom software, there is usually bugs in the system, and having vendor support to help with these issues would be helpful. That way your business down not have any down time. Vendor support would include everything for installation to problems happening after install. ? 4. How might the project team recommending an ERP design strategy justify its recommendation as compared with other types of design strategies? The project team could justify recommending an ERP design strategy by stating that this design would keep the business data in location that is usable by the company. It would also allow for other modules to be added and usable immediately.

Globalization & concept Essay Example for Free

Globalization concept Essay Globalization is a concept that has emerged over recent past that have gained a lot of attention from the global people. Globalization is not anew concept because it has developed over time due to the interaction of people from ti me to time. The definition of globalization takes new direction every time because of its usage and transcends all spheres of life (Oregon State 2008). According to Robertson (1992) socialist define it a the comprehension and intensification of consciousness of the world as a whole unit. It has been elevated by the fact that the world has become more interdependent than before as from 20th century. The term is loosely used to symbolize meaning of consciousness, receptiveness and understanding of cultures, appreciation of the world socio-economics and ecological aspects. The term global village emerged in early 1960s to mean a shrinking world which was popularized by the media. The media has also tried to emphasize on the global community concept. The subject of globalization has shaped its objectiveness and subjectiveness. The evolution of globalization has been triggered by events such as wars and conflicts, the emergence of third world countries, expansion of international and supra international corporations and organizations. This is also accelerated by the idea of global economy(Robertson 1992). Globalization cuts across all academic disciplines and have implications on morals and values of people in the world. This is a problem that has generated other terms as deglobalization and globalism. Deglobalization attempts to reduce the impact of globalization while the globalism used used negatively to mean one worldism and cosmopolitanism (Robertson 1992). According to Scott (1997) globalization is visible and powerful order that directs the former concern to the geopolitical stage. It can be measured across the globe by consumers taste identity and by its homogeneity of taste. In the context of global culture it is evident in the distribution of the product. Globalization can also be defined as the historical structures established by societies over time that has exponentially increased in the present time. This has been achieved through mobility of goods and services necessitated by infrastructural development. The idea is largely cordoned by the elites terming it inevitable but the masses view it as danger to traditional life, livelihoods and values (GPF 2008). Herman (1999) emphasize it as the active process extending beyond borders, cross border structural facilities and link of corporate organizations. He adds that it is an ideology that wants to surpass its resistance and uphold it as beneficial and unstoppable. The emergence of globalization has led to theories defining its relevance and importance to world inhabitants. This has been ans issue of international systems that make demarcation of countries l which systematically create and partition separated by economic and process factors. These form the basis of global events that bring a perspective of the world as a systematic entity. This is virtually so because of given set of societies that dictate world unity trends and systems. This is referred to the capitalistic advancement of nations like America to which is characterized by division of labour, political and military relations that accompany economic trends while religion and culture follows simultaneously (Robertson 1992). Instability in the domestic and foreign structures have caused the rise of globalization as seen by the growth of communication and cultural academies, rise of movements, organizations and special interest groups. Globalization has therefore grown through several stages such as universalism, natural sociologies, internationalism, indigenization and later globalization (Robertson 1992). In this context universalism refers to scientific provision to humanity of basic principles and laws where ideas human fraternity is adhered to. While national sociologies emphasized on the professional academies that held intellectual products with high esteem. This is followed by the concept of making all countries follow the systems through internationalism as depicted by the third world creation. This was fostered by the indigenization stage that made such countries to adapt to methods and systems. Thus globalization emerged as the interaction of nationalism and internationalism which is punctuated with problems and conflicts at different life stages. The causes and mechanism behind this are the ones driving up globalization (Robertson 1992). Global issues as refer to in the context of culture have varied significance and measures. First Soules (2002) define culture as knowledge, acts, beliefs, laws, customs and aspirations of inhabitants in different settings around the world. This is identical to certain group of people. However mass culture which appeals to world wide audience is generally referred to popular culture. Any change in the traditional values, norms and daily order raise eyebrows of which is considered deviation from the normal life. But as people move there is interaction of cultures that fuse and transform into new culture that is can be described as global culture (Soules 2002). Therefore, popular culture is symbolic of globalization because of its persuasive nature which cuts across all national cultures. The popular culture referred to here represents popularity of certain personality in areas of music industry. These include stars, products and infrastructure associated with it commonly described as global communication (Scott 1997). Although globalization affects politics it has not received much attention as popular culture but film industry has been discussed at international level whether to be associated with it. It is paramount to not that though politics has not extended beyond its national jurisdiction it is much important in the global culture. Politics is limited by its weak structures at international level than popular culture that is advanced by its network of transnational corporations (Scott 1997). However, global culture may not be a definite evidence that it exists across the world because of its dependence on time, space and distributional mechanisms. But it passes across all nations based on several factors such as global production and global distribution. Whereby global production is brought about by the presence of transnational corporations which control 70 percent of the entertainment industry such as Sony and Tristar Corporations. The global distribution of this popular culture products signify the extend by which it reaches world wide audience. Technological advancement such as use of television cinema and satellite communication media channels have made popular culture received to wide audience in the world (Scott 1997). However, global culture just like the popularity of English language has received its share of criticism. For instance the spread of world single culture as advocated by the entertainment industry does not necessarily mean that the audience practice the same. It can only lead to global multiculturalism where diverse culture can be integrated in order to appeal to popular audience. Although this may lead to cultural plurality but their merger could lead to the a synthesized global culture (Scott 1997). More so the availability of the product does not mean it used for the intended purpose. For example the Soviet Union abused it as such spreading capitalistic ideology of Americans. Most view popular culture as the Americanization of the world. Hence it cannot be received globally without struggle and negotiation through the political and national structures. Global culture also faces a couple of restrictions that is largely dependent on the institutional frameworks, policies of governments, and levels of operations. Institutional frameworks play crucial role in the supply and distribution regulatory structures, education, industrial and economic climate for its operation. Policies that regulate broadcasting, copyright rights and taxation or subsidies play a significant role in the advancement of popular culture (Scott 1997). Most governments do not have cultural policies but have several that indirectly implicate culture within their national jurisdiction. this reflects their priority is promoting culture in their own country. Therefore, global culture faces an uphill task to be accommodated institutionally and into the policies of the respective governments(Scott 1997). Herman (1999) states that globalization is an ideology that is perpetuated by corporate organizations for their own interest. This is seen in the deregulation of several government on its budget, entitlement and free trade.. it does affect the nationalistic protection of indigenous companies while allowing the entry of international multinationals. This ideology has significant impact on economic status of weaker countries. Although it yields economic benefits its impact of whole society is detrimental (Alston 1998). Globalization is argued as one that weakens democracy in several countries. This is a result that governments are forced to enact regulations that give due advantage to the business community. For instance international agreements signed like the4 North American Free Trade Agreement and European Monetary Union. This has been used under the disguise of democracy to weaken the countrys ability to fight for improved wage salary of its workforce. Instead they are supposed to cut labor costs in order to obtain investment from the corporations giving the business community an upper hand to make huge profits (Herman 1999). Through such agreement most countries have fallen victim of deteriorating welfare standards of its citizens. Countries with high cost of labor have lost foreign investment because of relocation to cheap labor countries. Labor movement have also been weakened as opposed to the democratic freedom given of bargaining. This has med policy makers to make business friendly policies at the expense of state welfare. This countries have also advanced restrictive legislation that has tight grip national budget so as to absorbing inflation shocks hence accelerating unemployment and underemployment (Herman 1999). The ideological campaigns advocated b y the business community has reduced government responsibility to support its public hence making its citizens vulnerable to the corporation demands. Also limited financial sources by the individual government have accelerated their dependence on global sponsors that devise policies more favorable to them. It far negates the ability of leaders to develop mechanisms that favor its masses (Tabb 2002). This is evident in the efforts advanced by IMF and World Bank together with media support. This organizations developed conditions that were supposed to be met before funds are released to the countries in need. For instance, IMF developed structural adjustment programs to third world countries outlining conditions such as lean government and privatization. The implications was loss of jobs, increased poverty, increased wealth gap between the rich nations and poor nations (Herman 1999). Globalization in its basic fact is the ideological concept of business elite that send strong signal to people that it cannot be brushed away easily and it is better. Although it has the benefit of increasing interest rates in the stock market and income, inequality rise is more across all countries. For example in the United States productivity rose by 35 percent while underemployment, job security, loss of benefit and lean production system increased in bigger margin (Herman 1999). CONCLUSION Globalization is a new concept that cuts across a all spheres of life such as culture, academic, political, economic and socially. In this paper i have discussed mainly how globalization influenced global culture and its implications. Global culture is defined as mass culture that appeals to world wide audience. It is particularly advanced by popular culture through different media channels. Globalization also touches political and economic aspects of several countries this has a direct effect on the democracy, economic status and welfare of its citizens. Globalization has beneficial impact on the government and citizens with varied margins. REFERNCE Alston, P, 1998, Statement, UN committee, Available at: http://www. globalpolicy. org/globaliz/define/unstate. htm Global policy forum, 2008, globalization,Global policy forum, Available at; http://www. globalpolicy. org/globaliz/index. htm Herman, E, S, 1999, Treat globalization, New politics, vol. 7, No. 2, Available at: Oregon State, 2008, Definition, Available at: oregonstate. edu/instruct/anth370/gloss. html Robertson, R, 1992, Globalization, SAGE, London. Scott, A, 1997, Global culture, Routledge, London. Soules, M, 2002, Culture, History, Available at: http://www. mala. bc. ca/~soules/media112/culture. htm Tabb, W, 1999, Progressive globalism, Monthly review, Available at: http://www. globalpolicy. org/globaliz/define/progglob. htm

Jack Kerouac and the Beat Generation

Jack Kerouac and the Beat Generation Introduction Jack Kerouac was responsible for spawning the literary movement that became known as the Beat Generation, a movement not only significant to literature, but one which incorporated music and visual art to chart a personal progression. Kerouac â€Å"was the leader of a literary movement and a way of life he thought was a passing fad.† The basic characteristics of â€Å"Beat† are defined in Kerouacs 1957 novel On the Road, a text which was to become a virtual gospel for the Beat Generation. As the author of this commandment, Kerouac became known as the â€Å"King of the Beats.† His reaction to this title is documented in an article printed in Playboy, â€Å"The Origins of the Beat Generation† (â€Å"Journal of Beat Poet Holmes recalls friendship, death of Jack Kerouac†). The term â€Å"beat† has a range of meanings, affording critics of â€Å"Beat† writing a rich array of ambiguities for their textual analyses. As an adjective, it was most famously defined by Allen Ginsberg, a member of Kerouacs close knit group, as â€Å"exhausted, at the bottom of the world, looking up or out, sleepless, wide-eyed, perceptive, rejected by society, on your own, streetwise,† while the word beat was originally used as a musical term by post-World War II musicians in reference to an individual or tune that was exhausted or downbeat. At the time, America herself was â€Å"beat†- the country had emerged from the 1930s disaster of economic depression only to find itself entangled in World War II, and having to deal with threats from the â€Å"reds† and the ominous propositions of McCarthyism. In one striking blow to Kerouac and other Bohemians, a definite link between smoking and lung cancer was confirmed in 1953. Kerouacs audience was a disenchanted, self righteous population, an unguided generation with no clear direction or idea of what they wanted form life and too powerless and world-weary to go out in search of the meaning of their existence. Such readers found refreshment and salvation in Kerouacs self-declared confusion, embodied most apparently in his definitive novel- On the Road. Kerouacs style, like all of the Beat writers, is defined simply and very easy to recognize. The Beat Generation â€Å"saw themselves on a quest for beauty and truth, allying themselves with mysticism. The works themselves were to be streams of consciousness written down spontaneously and not to be altered or edited† Kerouac himself simply stated, â€Å"if you change it†¦ the gig is shot.† Poets and novelists of the Beat Generation labelled Kerouac the embodiment of Beat and hailed him as leader of the movement, the â€Å"King† term is perhaps more carefully chosen than it appears, patriarchally loaded as it is. Other well-known authors of the Beat Generation include Allen Ginsberg, Lawrence Ferlinghetti, William S. Burroughs, and Ken Kesey. 1. Kerouacs â€Å"Spontaneity† and the Beats. While the title implies supreme spontaneity, Kerouac was never quite as deliberately spontaneous as his legend has insisted. His plan was to create a â€Å"giant epic in the tradition of Balzac and Proust†, but he never managed to determine a literary technique capable of welding the separate books of his Duluoz chronology into a coherent whole, â€Å"even if he tried†. Ann Charters is the voice behind much of the critical discussion of Kerouacs overwhelming legend-making aspiration, â€Å"He couldnt come up with any literary technique to help him fit all the volumes of the Duluoz Legend into one continuous tale. All he could think of was to change the names in the various books back to their original forms, hoping that this single stroke would give sufficient unity to the disparate books, magically making them fit more smoothly into their larger context as the Duluoz (Kerouac the Louse) Legend†¦[H]e wanted the books reissued in a uniform edition to make the larger design unmistakeable.† To claim that each individual novel is insufficient without integration into the larger context of the legend assumes a very conventional definition of legend. Not only is it linear and coherently chronological, it is also bound by the rules of time that govern reality. Of course there is no real reason why this should be so. Kerouacs â€Å"beats† create permanent and timeless impressions, and unending rhythms like Nature herself- the beat will go on if it is not bound by temporality or rationality, but, like a true legend, circulates and permeates the universal consciousness all the time, for all time. A legend can, after all, be many things: an unauthenticated story from ancient times; an allegorical tale of obvious exaggeration or fallacy; simple fame; an explanation accompanying an image or map- and, in music, a composition capable of relating a story- even without words. Charters criticisms fall away rapidly. Kerouacs work easily adheres to each of these versions of the term â€Å"legend†, as if he is unconsciously sensitive to the subtle multiplicity of the word, and feels obliged to fulfil the words promise. His work is carefully designed, indeed, he was preoccupied by the notion of design- the pre-styling of the free-styling- and perhaps not, then, the carefree and careless King of Beats. The assumption of wild abandon seems to arise from misunderstandings of the term â€Å"free prose.† The â€Å"free† to which Kerouac refers does not, in any way, signify a relinquishing of control. It is, however, rather like Wordsworths â€Å"spontaneous overflow of powerful feeling,† which creates an impression of experimentation but really represents a highly contrived artifice to contain the exuberance of â€Å"natural† speech. Associating Kerouacs particular diction with what he has called, â€Å"the unfulfilled linguistic intentions of the British Lake poets,† Tytell asserts that Kerouac sought a diction compatible with the natural and irrepressible flow of any â€Å"uncontrollable involuntary thoughts† that he had to release. While Kerouac clearly hoped that his â€Å"Spontaneous bop prosody† would â€Å"revolutionize American literature†, just as Joyce had revolutionized English prose, â€Å"spontaneous bop† has musical implications far more than literary ones. Kerouac and the other Beat writers listened to music as they worked, and â€Å"bop† surely applies to the jazz which accompanied their writing, more than anything; the music of Charlie Parker, Dizzy Gillespie, and Thelonius Monk. In many ways Kerouacs literary technique is structured on a model of Jazz riffs- the impulse for both being to perfect a deliberate style that does not look deliberate, something which systematically generates an impression of spontaneity. Albert Murray has defined a jazz riff as, â€Å"a brief musical phrase that is repeated, sometimes with very subtle variations, over the length of a stanza as a chordal pattern follows its normal progression†¦Riffs always seem spontaneous as if they were improvised in the heat of the performance. So much so that riffing is sometimes seen as synonymous with improvisation†¦not only are riffs as much a part of the same arrangements and orchestrations as the lead melody, but many consist of nothing more than stock phrases, quotations from the same familiar melody, or even clichà ©s that just happen to be popular at the moment.† Such is the technical â€Å"improvisation† of Kerouacs prose. Despite his declared disinterest in music, Kerouacs writing evidences a profound identification of the creation of music with that of literary works. As he states in his Paris Review interview: â€Å"As for my regular English verse, I knocked it off fast†¦ just as a musician has to get out, a jazz musician, his statement within a certain number of bars,† and later likens the writers craft to that of the hornplayer, â€Å"I formulated the theory of breath as measure, in prose and in verse, never mind what Olson, Charles Olson says, I formulated that theory in 1953 at the request of Burroughs and Ginsberg. Then theres the raciness and freedom and humour of jazz.† In Kerouacs own terms, then, the beat follows the phrasing of the jazz model. In his theory of â€Å"breath as measure† he reveals his acute attention to the sentence- elsewhere denounced- and even acknowledges the control of cadence. His contemporary critics occasionally saw musical rhythm in Kerouac: Tallman found a version of sentimental thirties music in â€Å"The Town and the City†, where melody rather than a storyline, controls the work. â€Å"On the Road,† however, demonstrates a departure into bebop, â€Å"Where the sounds become BIFF, BOFF, BLIP, BLEEP, BOP, BEEP, CLINCK, ZOWIE! Sounds break up. And are replaced by other sounds. The journey is NOW. The narrative is a humpty dumpty heap. Such is the condition of NOW.† Its impossible to avoid the philosophical and religious implications of this kind of anti-chronology. Just as music appears endless, repeatable, circular and circuitous, such is the freedom of writing unshackled to narrative. In Kerouacs novel, Big Sur, the message appears to be that since Nature is a part of the self, and to fear it is to fear oneself. The two meanings of Nature become one: â€Å"human nature† is animalistic, and this novel is cautionary to the extent that it shows the dangers of failing to acknowledge this. Kerouacs nature/Nature synthesis represents the essence of his Buddhist sympathies, and this in turn relates to the literary theme of tracing a path. It is hard not to read this author without conflating the mystical with post-modern work on impasses, such as Derridas aporia, and the sense that however far we go we can never escape our selves. It recalls the Buddhist expression, â€Å"Wherever you go, there you are.† â€Å"I am beginning to see a vast Divine Comedy of my own based on Buddha-on a dream I had that people are racing up and the Buddha mountain, is all, and inside the Cave of Reality.† The immediacy of his writing adds to the sense of guru-like mysticism in Kerouacs work: his work spills out like revelations, if not beats, we certainly get the sensation that he is â€Å"King† of something. The work responds to deconstructive literary theory because of its very currency- it has almost completely evaded the conventional segregation and hierarchy of speech and writing. â€Å"My work comprises one vast book like Prousts except that my remembrances are written on the run instead of afterwards in a sick bed.† â€Å"Criticism is forced to be perpetually lagging behind the designs and dictates of the author, whilst the works language is seen as a simple means towards a referential end. Language is thereby devalued to the status of an instrument.† Barthess statement, â€Å"it is only through the function of the author as the possessor of meaning that textual reality is made obeisant to extra textual reality† is almost the antithesis of Kerouac. Kerouacs restoration program also depends on the authors willingness to disappear slightly and conduct meaning, but uniquely, Kerouac demands that the hierarchy of the â€Å"textual and extra-textual† be flattened. Not only this, but that the direction of realist discourse be inverted. As Barthes describes it, â€Å"the author is always supposed to go from signified to signifier, from passion to expression†¦the critic goes in the other direction†¦the master of meaning†¦is a divine attribute†¦from the signified towards the signifier.† Clearly Kerouac does not begin with the apparent and source its cause. He is the archetypal author, travelling from a source within himself a â€Å"passion†- towards a grand confection of layered expressive analogies. This critic is not working as an unseen evangelist of truth-in-nature, but uses nature as a space to unveil meaning, that is, to work from the â€Å"signifier† of the word, to the â€Å"signified† of the writing, like a painter signing his own name on the canvas. In fact, Kerouac is suspended between the conditions of observer and recorder. The recorders self is neither ejected nor declared in his writings, but rather encrypted- both in and as the writing. This partly explains the fascination that encrypted and marginalized author figures hold for Kerouac. His own experience of suspension and estrangement from easy linguistic categorisation, and from the body of conventional society, is unconsciously articulated in all Kerouacs writings. The very potent agency of unconscious in itself is of course another â€Å"natural† tie, binding this writer to the natural world. When, in Big Sur, he talks of the meandering river/path leading into/out of the picture, he is describing the same path into and out of meaning which he himself treads. As a fugitive of consciousness, he travels from work to signifier -in the sense of both meaning, and of the artist, the maker of meaning, and his conclusions merge meaning and its maker into a single signifier. As an author, Kerouac functions as a human conduit to bring external reality to â€Å"textual reality†- and is guided in this venture by the original source, the world outside. All this is reinforced, and microcosmically present, in Kerouacs easy fluctuation into and out of the page, int o and out of the rythm- all of which implies a certain arbitrariness of the page. This is not carelessness, but merely the flip-side of significance. It simply doesnt matter to Kerouac whether a symbol works in one direction or another, the importance is the motion- the action- itself. This is particularly evident in the repeated jazz references in â€Å"On the Road†. The musical analogy for temporal progression is made explicit as Kerouacs fundamental modus operandi. When he describes his unique philosophy of composition, â€Å"blow as deep as you want to blow,† it seems he imagines the writer as a kind of horn-player. He attaches his methodology to a rationale for his bizarre habits of punctuation, â€Å" Method. No periods separating sentence-structures already arbitrarily riddled with false colons and timid usually needless commas- but the vigorous space dash separating rhetorical breathing (as jazz musicians drawing breath between outblown phrases)† The words occurring between dashes resemble linguistic entities unaligned with the conventional subject-verb arrangement of English sentences. These linguistic configurations appear to obey a different notion of time to the â€Å"real† world, with its â€Å"real† language. Traditionally, a sentence fixes time by acting as a frame for the past-present-future sequence. The conventional sentence does not allow the motion, flash, and fluctuation of Kerouacs writing ambition. In this way, the musical analogy enables Kerouac to construct a notion of time outside of the temporal constriction of conventional literature. His work is less poetic, non-linear, and dislocated. A phrase need not refer to the outside world, for it can now begin and end with reference only to its own rhythm- a truly poetic quality, â€Å" measured pauses which are the essentials of our speech-divisions of the sounds we hear-time and how to note it down (William Carlos Williams).† So Kerouacs prose is measured with breath, and timing holds the key to its rendition. As he describes the process, â€Å"Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-wrds, blowing (as per jazz musician) on subject of image† On the Road is an attempt to solve the time/space problems Kerouac is troubled by, but his success is always qualified by what we might term psychoanalytic obstacles. However much he attempts to overrule the order of cause and effect, past and present, this author must remain subject to the government of his own past. His repeated attempts to perfect the form contradict the effort itself, of course- and this is Kerouacs paradox. The more he writes, the more he develops, and the more evident the writers evolution, the more it relates to a chronological dynamic. In the same way that labouring spontaneity foregrounds the labour, and consequently the authors hand, aspiring to defeat timeliness through constructing a series of books over years only betrays his inescapable mortality, tying him inextricably to the outside world in spite of himself. The writing brings to mind the words of art critic, Michael Fried, whose anxiety around the visually present world is everywhere present in his work, â€Å"†¦a means of evoking an experience of journeying corporeally through space as opposed to merely viewing a world present to eyesight but fundamentally out of reach.† It is clear that Kerouacs work is a melancholic writing of history i the most literal sense: his books create chimeras of invisible historical figures, and in so doing evoke their absence- an absence which inevitably feeds his unfalsifiable claims, and, unfortunately for Kerouac, the claims of unfalsifiability made against him. 2. The Beat and the Origin The life of every Beat Writer is characterized by a prolonged psychic crisis that is finally resolved by means of a sudden vision or insight James T. Jones, in his book Jack Kerouacs Dulouz Legend: The Mythic Form of an Autobiographical Fiction, argues forcefully for an Oedipal analysis of Kerouacs work. Grouping the Kerouac texts in the Freudian context, particularly the Oedipus myth, Jones reflects on ways in which Kerouacs depiction of family relationships and by extension, relationships in his personal life and as fictionalized in his prose may be explained through Freud. His look extends to the enduring relationship between Kerouac and his mother, the residual rivalry with his father, sibling rivalry with his older deceased brother Gerard, and eventually a succession of male colleagues. Big Surs alcohol-induced nervous breakdown is perceived as being induced by or symptomatic of his catastrophic attachment to his mother and obsession with the psychic tensions induced by the Oedipal family struggle. As Jones writes, Jack Dulouz , suffering from the effects of chronic alcoholism and sensing an impending nervous breakdown, seeks refuge at the oceanside cabinunfortunately, like the grove of the Eumenides in Oedipus at Colonus, it is full of reminders of both the cause of his misery and the fate that awaits him, The oedipal signifier works in two directions, then, standing outside of time. The â€Å"Origin† supplied by the grove recalls the past and anticipates the future. A visit to the canyon in which the breakdown took place, its rumbling surf and endless brook which babbles with vital noise, and the yawning canyon recall Kerouacs hometown of Lowell. We are reminded of the grotto of Our Lady of Lourdes, and the bridge across the Merrimack River there. Since Kerouac was introduced to it by his brother Gerard, the site, with its awesome mystical potency, is described with passion. The sounds seem to express, yet barely contain, the power of the place: as the river water cascades over the long weir, traffic roars in the background. All this combined with the anthropomorphically cragged vista of the grotto itself creates a sense of almost unbearably powerful otherness, an origin in nature now frighteningly alien to the human soul. Kerouacs realism in Big Sur may be summarised as the doomed ambition to structure impossible desire. The labour of the carefully constructed â€Å"Beat† pattern is present in the background, as a sort of displaced metaphor for the mental and physical effort of writing. Thus Kerouacs â€Å"Beat† takes the anti-mimetic definition of realism one step further- since writing does not have to relate to what it depicts, it will resist immediacy, but relate in specific and indirect ways to the authors private life. In many ways, Kerouacs enterprise resembles that of a visual artist at least as much as an aural or literary construction. Courbets paintings, for example, operate in a very similar way to Kerouacs works. They share this meta-symbolism, with particular interest in representing origins as water, or indeed as female genitalia- and also aspire to an impossible merging with lost roots. In Courbets art the impossible merger is one of body and work; for Kerouac it is the a rtifice of language and the unruly inevitability of the natural- taking him as close as anything ever can to his father. An erotics of the word and image is then inevitable, and Kerouac finds one fully-formulated and ready to use, in Freudian psychoanalysis. While studies on Courbet resituate sexual difference within the (male) painter-beholder, rather than between him and his representations, Jack Kerouac does something subtly different. Through its emphasis on the writing/experiencing incommensurability, Kerouac resituates sexual difference within the (male) writer/reader rather than between the artist and their work. The authorial voice is only ostensibly the source of psychoanalytic narrative- in fact the same narrative can be sourced through theoretical channels (backwards â€Å"into the page†) to the writer, and, if we believe him, to the reader too. â€Å" It grew exceedingly hot and strange†¦We were going though swamps and alongside the road at ragged intervals strange Mexicans in tattered rags walked along with machetes hanging from their rope belts, and some of them cut at the bushes. They all stopped to watch us without expression. Through the tangled bush we occasionally saw thatched huts with African-like bamboo walls, just stick huts. Strange young girls, dark as the moon, stared from mysterious verdant doorways,† Psychoanalysis corroborates Kerouacs general preoccupation with the fantasy of origination, in the case of Big Sur, the origination as personified in the figure of the father. In this imagery from On the Road, the dark girls are linked to the moon, loaded words like â€Å"thatch† and â€Å"bush† are always used alongside â€Å"machetes† and eery expressionlessness. Reading Kerouac like a goya painting or a poem, we can easily recognise the guilty violence involved. Kerouacs unedited unconsciousness reveals his sense of alienation, as the girls who are so strange are like the moon- nature is female- irresistible, unfathomable, untouchable. The horizontal â€Å"thatch† or â€Å"low bush† of the women is disrupted by the weapons and interference of the vertical agent of the male machetes. The interference in the body of water is the same- or at least, linguistically symmetrical- to the interference on reality that the act of writing always engenders. I f female bodies and contrived spontaneity are references to the origin and the unconscious ambition to merge with the origin; then any discreet writing surface is fetishised as an oedipal object of impossible desire, always disrupted, interfered with and disfigured by the very desire that defines it. Kerouacs Freudian desire to merge with the source must disturb the way he perceives himself. In fact, it illustrates and literally reflects the way in which we, as readers, percieve ourselves in so far as we are reflections of our origins- how it is only through disturbance that we can become aware of the source. If any reflection were perfect, with no material interference, we would have no way of knowing that it was a reflection. Kerouacs tireless autobiography project is not only a non-narcissistic event, but an entirely natural one. In Hegels Aesthetics such self-portraiture is established as a primal impulse of self-identification. According to Hegel, for man to become self-conscious he must first â€Å"represent himself to himself†, and second, â€Å"man brings himself before himself by practical activity†¦this aim he achieves by altering external things whereon he impresses the seal of his inner being and in which he now finds again his own characteristics. Man does this†¦to strip the external world of its inflexible foreignness and to enjoy the shape of things only an external realization of himself.† Hegel goes on to describe a childs impulse to throw stones into a river: there is no reflection involved, none of the self-annihilating narcissism of â€Å"passive desiring seeing†, but a declared primacy of action over seeing. Kerouac is invoked by Hegels wording, â€Å"the continuity between ordinary action and the action of producing works of art is already implied by the image of the drawing of circles in the surface of the water.† These circles are inscriptions of objects on flat planes that require a certain maturity of consciousness to interpret as the effects of a (manual) cause. Here, Kerouacs dormant reference to, and defence of, his own ideal situation as a realist author is very evident. In a later paragraph from Fried the message that the self is best quietly discovered through displaced descriptive action is completely inescapable, â€Å" the effacement of the very conditions of resemblance (the breaking of the mirror-surface of the river) also means that the boys relation to the spreading circles in the water might be described in Flaubertian language as present everywhere but visible nowhere.† A sentiment repeated in Kerouacs poetry, which â€Å"breaks† the reflective power of water by introducing the contrasting element of heat and dryness, â€Å"Describe fires in riverbottom sand, and the cooking; the cooking of hot dogs spitted in whittled sticks over flames of woodfire with grease dropping in smoke to brown and blacken the salty hotdogs, and the wine, and the work on the railroad.† The desire to identify with the origin, whether through disturbing the water, impersonating the father, or labouring to represent oneself to oneself, may always end in action, but it is only ever the action of wrenching open the facture of desire. The impulse to create will always be driven by a lack, and Kerouac is most conventionally â€Å"Realist† when he recognises this. Kerouac, after all, is aiming to reorganise an imbalance of power, and to characterise a sense of the monadic â€Å"other†. Philosophically, Kerouacs work is incredibly resistant to the Other, to the point that he scarcely needs the anterior of an audience. In spite of his evident veneration of the â€Å"Natural†, the world beyond that of writing/reading is so unbearable that Fried has trouble imagining it, levelling the differences between interiors and exteriors and converting all mimetic imagery into narratives of action or narratives of material: surfaces to be read. To the extent that it is a self-sufficient sign-system (and I am arguing it is far more than this) Kerouacs work evacuates the reader and effectively â€Å"reads itself†. It fits Derridas conception of autobiography, â€Å"My written communication must†¦remain legible despite the absolute disappearance of every determined addressee†¦for it to function as writing†¦to be legible. It must be repeatable, iterable, in the absolute absence of the addressee† Again, this supported by the assertions of one anonymous online Kerouac archivist, â€Å"Almost everything he wrote was autobiographical. Like Thomas Wolfe, he saw writing as identical with introspection. The word fiction does not really describe his work. It was more like self-directed psychoanalysis, except that his outlook was more religous and tragic than psychological. His books are crowded with his friends, lightly disguised behind new names. Allen Ginsberg, for instance, appears variously as Carlo Marx, Adam Moorad, Irwin Garden, Leon Levinsky and Alvah Goldbrook. Late in his life, Kerouac even considered publishing a unified edition of all his works, with all the characters representing himself appearing under a single name, Jack Duluoz (French for Jack the Louse).† This homogenising impulse, the need to resist difference and integrate everything, drives the rhetorical case which Kerouac makes in an attempt to show that outdoor scenes are actually the same as indoor ones. It is affected spontaneity of language which Fried cites as the connection between the inner and the outer. Indoor and outdoor scenes are treated as having the same character and affect, to the extent that they have a rhythm and no inherent narrative. Kerouacs holistic ambition repeats itself on every level- here the very scene of representation is moulded by the realist theory. The internal and external scenes, like the internal and external levels of a psyche, become one, as they are united in common, necessary pain, of the disfiguring theoretical intervention. Applying psychoanalysis to Kerouac, this does look like an attempt at integrating the repressed inner and outer of the psyche, where the first might be characterised as darkness, depth, recession, primordial instinct, and the past, and the second as light, shallowness, presence, and surface agency. Farewell Sur- Didja ever tell him about water meeting water-? O go back to otter- Term-Term-Klerm Kerm-Kurn-Cow-Kow- Cash-Cach-Cluck- Clock-Gomeat sea need be deep I see you Enoch soon anarf in Old Britanny Say yes. Say yes to the sea. Say yes to chaos. Say yes to eternity. Say yes and let it all go. Go, go to the sea. To the waiting open arms of the sea. You and me you and me the sea. Yes. Let us be. There is light.† Reflections are also the assertion of the horizontal. In spite of the violence metaphorically wrought, and acknowledged by his writing, Kerouacs work is concerned with empowering the natural within the man. The vigorous negation of comfortable feminine origination in his poetry refuses to allow the implied horizontality of the original sheet of paper to be wholly superseded, and in effect suppressed, by the verticality of the outside world. Psychoanalysis works through poetry subliminally, appealing to the subconscious by encoding itself in visual puns like reflections. 3. Missed Beats – Misunderstandings and misnomers It has been claimed that, for at least one definition of the word, Kerouac was not a â€Å"Beat† at all. Mayer writes, â€Å"A â€Å"keen observer rather than a confident insider,† Kerouac never really was a member of the Beats though he was among them from the beginning and as a chronicler cast their emergence into prose. When Daniel Belgrad remarks that Kerouac â€Å"would attend parties only to sit silently in a corner, listening intently to the multiple conversations and noting them down in his memory,† he is in line with a comment by Ginsberg, â€Å"I guess [Kerouac] felt more like a private solitary Melvillean minnesinger or something.† â€Å"Subterranean Kerouac†, a biography by Ellis Amburn, develops the oedipal theme in his work, referring notably to his â€Å"dream-fear of homosexuality.† Claiming that Kerouac became a â€Å"homophobic homoerotic† by the early nineteen forties, Amburn insists that in the fifties, while an increasing misogyny came to pervade writings like Some of the Dharma, â€Å"his homophobia was increasing in direct proportion to his homoerotic activity. , † a development which might have been facilitated at least partially by Kerouacs worsening dependency on alcohol. Kerouac is known as the king or the speaker of the beat generation and his writings are probably the most widely read works for anyone studding the beat culture, but there is real evidence that he resisted the title of â€Å"King†, particularly the patriarchal overtones. Even in 1952, John Clellon Holmess book â€Å"Go† presents Kerouac as Gene Pasternak, railing against â€Å"all that free-love stuff, that liberal bohemianism, between friends.† Kerouacs 1958 novel â€Å"The Subterraneans† features a narrator whose sexual hang-ups are barely known to him. Ben Giamo has termed the narrators stance in the novel as â€Å"a curious form of approach/avoidance.† The authors avatar in â€Å"The Subterraneans†, is French Canadian. His name is â€Å"Leo Percepied† and it has been appropriated for psychoanalysis. Kurt Mayer claims that as his first name is that of Kerouacs father, and his last, literally translates asâ€Å"pierced foot,† the characters name is an obvious Oedipal reference. The characters destiny echoes Jacks, as he abandons pretentions to being middle class, and ultimately returns to his mothers house. Jack, of course, always returned to â€Å"Memà ©re†- Gabrielle Kerouac, what Mayer refers to as the â€Å"only consistent relati

Essay --

Joe Reschke 8E #19 December 9, 2013 Research Paper There are about 3-4 million shipwrecks in the world. The shipwrecks are mostly spread in the Great Lakes and in the Oceans. Great Lakes Shipwreck Museum estimates that about 6,000 ships are wrecked on the bottom of the Great Lakes. The United Nations estimates about 3 million shipwrecks on the ocean floor. The great lakes, which can be seen from space, are the largest freshwater system in the world. The lakes are home to 3,500 species of plants and animals, 170 fish species, they contain 21% of the worlds freshwater, and they cover 95,160 square miles. They are home to about 6,000 shipwrecks. - Graph By: David Swayne of Great Lakes History.com This Graph represents the distribution of shipwrecks over various lakes. It show us that most shipwrecks that happen in lakes happen in the great lakes. The first ship (not including canoes) to ever travel on the Great Lakes, The Griffon, was shipwrecked. It was wrecked in a violent storm on Lake Huron. The ocean covers 70% of the Earth’s surface. The largest ocean on Earth is the Pacific Ocean. It covers around 30% of the Earth’s surface, and the Pacific Ocean contains around 25,000 different islands, many more than are found in Earth’s other oceans and, there are about 350 shark species in all of the oceans. Have you ever seen a shipwreck and wondered how it sunk or just wondered how ships sink in general? There are many reasons why boats sink. Ships are made to be on top of the water so when a wave brings water on top of the boat it will most likely cause it to sink. One of the most common ways for a boat to sink is when a boat finds itself in a massive storm and it gets engulfed with waves making water come on the b... ...while at Pearl Harbor. Her bow was severed and wrecked her command room. The main part of the ship and stern were still intact. The Shaw was temporarily repaired and returned to battle in The Battle of Santa Cruz Islands. The ship wrecked once again in January 1943. It ran aground near New Caledonia and this time returned for major repairs. After it was â€Å"Reschke 7† repaired again it was sent back to the warzone in October or 1943. It wasn’t done wrecking yet. In December 1943, The U.S.S. Shaw was hit with an air attack near Cape Gloucester. It once again had to go back for major repairs. Following those repairs The Shaw participated in the Invasion Of Guam. Subsequent to that in October 1944- 1945 it escorted pacific convoys to liberate Luzon and other parts of the Philippines. When the Pacific War ended the Shaw was scrapped. â€Å"Reschke 8†

Understanding Emma :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Emma, who is extremely wealthy and very beautiful and the youngest of two daughters lived twenty one years without a trouble to bother her. She was the mistress of her house in Highbury because her mother died when Emma was very young. The governess of the Woodhouse home Miss Taylor was very close to all three girls but, very close to Emma. Miss Taylor finally decided to marry Mr. Weston, the owner of Randalls.   Ã‚  Ã‚  Ã‚  Ã‚  During the wedding her father said that he is extremely upset that Mrs. Taylor married Mr. Weston. Emma admited to her father that she is rather pleased that Miss. Taylor has married Mr. Weston. It was Emma’s idea to get the two acquainted. Emma’s papa asks her to not make any more matches and foretell things, and tells her that everything she says always comes to pass. Emma replied to her papa that she will not make any matches for herself but she must for other people. She told him that matching couples is a great amusement to her. She continues to boast about her success. Her father begs her again not to make any matches and Emma pleaded for his permission to make a match with Mr. Elton. Mr. Knightly who is the elder brother of Emma’s sister’s husband tried to make Emma think that she should not make any more matches and he told her that a man can take care of himself. Mr. Frank Churchill who is the son of Mr. Weston is the talk of t he town. He rarely comes to visit his father in Highbury but when Mr. Weston got married, Mr. Churchill attended.   Ã‚  Ã‚  Ã‚  Ã‚  Emma had made a friends with a girl named Harriet who is a student at the boarding school, and has made a very good name for herself in the town. The girls would take walks together daily and talk . Occasionally, Harriet talked about a man named Robert Martin, Emma often wondered who he was. Harriet told Emma that she was very fond of Mr. Martin and may marry him. Emma tried to convince Harriet that she should not marry below her social status because she has made a good name for herself here. Emma mentioned Mr. Elton to Harriet and asks her what she thought of him. Harriet admitted that she had always been fond Mr. Elton and found him agreeable. Emma was fixed on putting Mr.

quality management :: essays research papers

the Xbox 360 will be HD-DVD compatible. Get the full story at GamesIndustry.biz. Who Needs Sight?: How would you feel if someone totally beat the ever-loving waste products out of you while you were playing a game...and they were facing away from the screen? Well, folks who set themselves up for a challenge with 17 year-old Brice Mellen may have to deal with those questions. You see, Brice is blind but has been playing games his entire life, and as a result, is probably a lot better than you in Mortal Kombat Annihilation and Soul Calibur 2. Meet the ultimate gamer at Yahoo! News. Google Wars: A dispute between Canada and Denmark over a tiny island near Greenland (which is a territory of Denmark, despite being larger than the entire European nation) is being fought online via ads on Google, which point to letters of protest centered around the dispute. Find out the full story on Yahoo! News. Wall Of Shame: Chicago's new way of humiliating those caught soliciting a prostitute in their city may be effective at making the perpetrators feel ashamed, but the practice of posting the names and photos of those caught before they're tried has come under scrutiny by law enforcement officials and attorneys. Those actions violate a person's constitutional right to a fair trial by punishing them before they are proven guilty. Read the whole story at Law.com. From The N-Side: At most companies, divulging corporate secrets could get one in boiling hot water, but if you've ever wanted to find out why some of the more peculiar decisions were made at Nintendo over the years, here's your chance. N-Sider has an article that reveals the reasons behind such odd happenings such as the Virtual Boy and the Game Boy-only sequel to Kid Icarus, plus more. Seeing Infrared: A hacker known as Major Malfunction online has revealed to the world exactly how easy it is to hack into one's personal information anytime information is transmitted via an infrared signal, such as in hotel room computers and car door locks. Find out what you're missing if you're not plugged in to DefCon at Wired. Best Name Ever: Even if you're already way past the whole 'birds and the bees' conversation stage in your life, you've got to chuckle at the name for the sequel to the Nintendo DS title Feel the Magic.

American colonies in 1763 †A new Society? Essay

Between the settlement at Jamestown in 1607 and the Treaty of Paris in 1763, the most important change that occurred in the colonies was the extension of British ideals far beyond the practice in England itself. Changes in religion, economics, politics, and social structures illustrate this Americanization of the transplanted Europeans. By 1736, although some colonies still maintained established churches, other colonies had accomplished a virtual revolution for religious toleration and separation from Church and state. In England, the Anglican Church was dominated and the other churches were suppressed. However, in colonial America, people tried to separate the church and state. One of the examples is Roger Williams, who attacked theocracy in New England. He wanted the church to be separated from the state. He was banished from the Massachusetts Bay and he built a new colony, Rhode Island with religious freedom. The other example would be the Maryland Toleration Act in which, all kind of people with different faiths could live in Maryland. The other colonies such as Pennsylvania, New York, and Carolina all had ethnically and religiously diverse populations. In a similar economic revolution, the colonies outgrew mercantile relationship with the mother country and developed an expanding capitalist system of their own. In 1660 and 1663, England passed the Navigation Acts to monopolize the trade of the English colonies. The colonies produced far more than England needed but they were not allowed to sell to other countries. Rather, England would acquire the extra products and sell them to other European countries for their own profits, which was not fair. American colonists worked very hard, they harvested the land, and sea, did manufacturing and commerce, industrialization, and plantation agriculture. Despite all of the injustices of England, their economy grew twice as fast as it did in England. Building on English foundations of political liberty, the colonists extended the concepts of liberty and self-government far beyond those envisioned in the mother country. England’s government was based on the Constitutional Monarchy, which was limited after the Glorious Revolution and Parliament got  more power. However, in America, the governments were much more different than in the mother country. The governors in American colonies were trying to retain a royal image, but the legislatures followed England’s example of a limited monarchy to control these leaders. The colonies had their separate and self-government, which were well organized at the time British tried to enforce its power in America. The Confederation of New England, an intercolonial political organization established by Puritans in 1643 to coordinate government and to provide greater defense against the French, Dutch, and Indians could be a very good example of self-government. The other example would be the yearly town meeting of citizens of New England villages, which selected village officials and settled village business. As a result of this self-reliance, these colonial governments were able to fuel the later American Revolution. In contrast to the well-defined and hereditary classes of England, the colonies developed a fluid class structure, which enabled the industrious individual to rise on the social ladder. The social classes in England had always been constant or in other words fixed. If you were a member of the middle class, you could never become a member of aristocrats, the upper class. Comparing to the colonial America, the social structure was fluid in which, a lower class member could become an aristocrat by getting wealthier and working hard. Another comparison can be made between England and her colonies in the way of suffrage. In the North American English colonies, most white males would be allowed to vote by age forty. Voting rights were usually reserved for those who owned a certain amount of land. In England, however only one-third of men would ever vote. The figure dropped to nine-tenths in Ireland. In conclusions, the colonies in 1763 had changed dramatically in many aspects from those of the mother country, England. Religiously, economically, politically, and socially, the colonial people had changed and even improved on the old English ways. The treaty of Paris (resulting form the end of the French and Indian War in 1763) ended all foreign threats to English colonies in North America, elimination the colonies’ need for British protection and increasing the self-reliance.