Domestic violence Research Paper Example | Topics and Well Written Essays - 3250 words

Domestic violence - Research Paper Example In this paper is illustrated one of the most popular, but in the same time - the most reticent problem of society - violence in the family. It is important to note that domestic violence does not always manifest as physical abuse. Emotional and psychological abuse can often be just as extreme as physical violence. The researcher will apply mailed questionnaire for the present study. Twenty males and females each will be taken as the units of analysis in order to accept or reject the hypothesis. The researcher will select the respondents from different socioeconomic classes in order to give representation to all social strata. After the completion of the research process, the data will be tabulated and results would be interpreted, in the light of which conclusion and suggestions would be made. Domestic violence refers to the antagonism, aggression, and anger practiced by the family members against their own family in one way or the other. Domestic violence not only creates differences and hatred among the family members but also turns the most secure place i.e. home as the most unsafe and dangerous zone on the very face of the earth. The researches also view poverty and financial problems also cause domestic instability and invite hostility and aggression in the family. Though it is not only pecuniary problems that bring violence in the family, yet people’s inability to keep the wolf from the door certainly aggravate the uneven situation and cause the increase the mental agony of the individuals. ... at domestic level, which creates serious problems within this basic and most important social institution. Domestic violence not only creates differences and hatred among the family members, but also turns the most secure place i.e. home as the most unsafe and dangerous zone on the very face of the earth. The report presented by the UNICEF describes the same by stating that the domestic violence inflicted by the males aptly put women and children in great danger in the place where they should be safest: within their families. For many, ‘home’ is where they face a regime of terror and violence at the hands of somebody close to them – somebody they should be able to trust. Those victimized suffer physically and psychologically. (Unicef-irc.org) The researches reveal the very fact that domestic violence is the outcome of belligerence and haughtiness observed by the males at home. Ingkintja Congress of Male Health suggests that over 95% of reported violent offences ar e committed by males. This is a male problem—it's up to men to take the lead in fixing it. (creativespirits.info) The dominant role played by male stratum is actually the main reason behind their being responsible in domestic violence. Another reason behind men’s displaying violence at home is partly due to the strong desire for maintaining their supremacy and authority over women and children at large against the financial support they are rendering for the family. The researches also view poverty and financial problems also cause domestic instability and invite hostility and aggression in family. Though it is not only pecuniary problems that bring violence in family, yet people’s inability to keep the wolf from the door certainly aggravate the uneven situation and cause in

A Streetcar Named Desire by Tennessee Williams Essay Example for Free

A Streetcar Named Desire by Tennessee Williams Essay Over the last few lessons in drama we have been working on a number of tasks to do with Tennessee Williams A Streetcar Named Desire. These tasks involved using movement as well as words; some were naturalistic and others were much more abstract. Our first task was to walk like different characters from the play, focusing on the way they used certain parts of their body to show their personalities. First we had to walk like Stanley. Most of us walked with a confident swagger, sticking our chests or pelvises out to indicate his masculine pride. When we were asked to sit down in character, we sat back in a relaxed manner, opening our legs and perhaps loosely crossing our arms or draping them over the back of our chair, indicating total self-assuredness. Next we were asked to play Blanche. I decided to portray her as a fidgety person, constantly smoothing her clothes, fixing her hair or touching her face, to show her insecurities and lack of confidence. I also walked with short, dainty steps, to show how fragile and slight she is. When we sat down, I leaned forward slightly, with my shoulders slightly hunched, to show her vulnerability. Finally we were asked to portray Stella standing upright, slightly tense as if waiting to heed to Stanleys latest demands and Mitch big, awkward, slightly more hunched and less confident-looking than Stanley. After this task, we were asked to depict Stanley and Blanche as animals. For Stanley, nearly everyone acted like a wolf or a fox strong, territorial, sly, always hunting and watching. For Blanche, I chose to act like a small bird, which would preen and look pretty but would be fidgety and nervous and would fly away when frightened. Our next task was to get into groups and act out scenes taking place before the play begins, which would reveal something interesting about our characters. I was in a group with Emily, and we were told to act out a scene from when Blanche and Stella still lived at Belle Reve. Emily played Stella and I played Blanche. Our scene began with Blanche climbing through the window of the room she shares with Stella, late at night. Stella, who has been studying, admonishes her for being so late and tells her how worried she has been. Blanche, who has been drinking but claims she limits herself to one, has just met a young man who reads poetry, who, as we know, will later commit suicide. It is revealed that Stella is the clever sister, who has the potential to make something of herself, and Blanche is the wilder, worldlier sister who relies on her beauty to have fun. This explains why Stella left Belle Reve and had the ability to get a husband and a home of her own, and why Blanche was left be hind, unwilling to grow up and surrender her beauty. Millie and Genna also played Blanche and Stella at Belle Reve. Their scene involved Blanche taking Stella out on the town for the first time. Blanche is very domineering and worldly, and Stella is naà ¯Ã‚ ¿Ã‚ ½ve and nervous about the shortness of her dress. Stella wears white, showing her innocence, and Blanche wears red, showing her corrupted virtue. Jack and Owen played Mitch and Stanley. They gave Mitch a deep personality, having him hint about wanting to settle down with a wife and worrying about his mother. They also showed Stanleys love for Stella, as he talks about her in a very loving and tender way to Mitch. Next Felix and Flick, playing Stanley and Stella, showed how Stella was very like Blanche when she first met Stanley, unused to this more working class environment, yet being excited by Stanleys attentions. Finally, Angelika and Hugo, playing Stella and Stanley, show Stella as being naà ¯Ã‚ ¿Ã‚ ½ve and Stanley being mysterious and inquisitive, trying to figure her out . In our next task we did Hot Seating. One by one, we were asked questions in character about our views on different events in the play. I chose to be Eunice, because although she is not a main character in the play, she is good friends with Stella and her husband is friends with Stanley, and she lives in the flat above them, so she would have a very clear idea of what life would be like for them. I chose to give her the opinion that Stanleys hitting Stella isnt good, but is acceptable, and is just a part of marriage that cannot be avoided. I was particularly impressed by Emilys portrayal of Stella after having her sister taken away. She made it clear that Stella was heartbroken, and although she claimed to believe Stanley, she let on that she had no choice but to believe him. I also liked Alex as Blanche, gushing and acting pleasant and sweet to try and cover up her past, but when difficult questions were brought up her act fell and she would refuse to talk about it. Our final task was to act out the scene where Blanche has been stood up by Mitch on her birthday and use freeze-frames to mark the most important moments in that the scene. I was in a group with Felix and Alex. Felix played Stanley, Alex played Blanche and I played Stella. The moments we marked were: Stanley throwing plates off the table; Stella and Stanley on the porch with Blanche on the phone, trying to reach Mitch; Stanley giving Blanche a ticket back to Laurel; and Stella going into labour. For each of our important moments, we froze in position for four seconds, before doing an action and moving onto the next moment. There were subtle differences between each groups piece; instead of using an action, as we did in ours, Millie, Flick and Jack used an important line of text in each of their moments, which I found very effective. Although I found these tasks challenging (especially as I knew we were on camera), I enjoyed interpreting different characters in new ways. I also worked with different people to whom I normally would, which was a good experience and made me enthusiastic and eager to work with them again in future lessons.

The Ethics Of Sex Appeal In Advertising Media Essay

The Ethics Of Sex Appeal In Advertising Media Essay Every media consumer is alert to sex in advertising. Its pervasive use and misuse are constantly before us, and typically elicit strong criticism (Richmond and Hartland, 1982, p.53). As anyone can see, the employment of sex in advertising has been in our midst for several decades and the reason for it? It works. Advertisements with sexual undertones are remembered over and over again than advertisements that are not. The question to ask though is, how ethical is it to make use of sexual appeals in advertisements? Does sex sell? Actually, sex does not sell, but sexiness does (Cebrzynski, 2000, p. 14). By means of sex appeals in advertising is a good way to aim at specific market segments but not all. Questions like what is identified as sexual appeals in advertising? Where and when should sex be used? Does the use of sexual appeals lead to an advantage for brand remembrance? must be addressed exhaustively. Sex and the Media Today, sex permeates advertising in the United States and in many countries all over the world as contemporary society is extremely fixated with the demonstration of sex in the media as never before. The issue of whether sex sells could be countered by screening the massive quantities of billboards and classified ads which integrate some form of sex appeal or nudity (Pynor, 2004, p. 42). Several reasons have been provided with the use of sexually oriented themes, among them are to achieve product and brand attention, recognition, recall, and sales (Alexander and Judd, 1978, p. 47). Observably, sex is utilized to sell a wide array of products from cars to fashion products, and is meant to attract not only the male customers, but female, consumers as well. The employment of sex as an instrument in advertising can be traced back to the 1800s when the advertising industry noticed the beneficial effect of using degrees of sexuality in their advertising drives. These economic gains include above all else an increase in revenue due to the point of difference that sexual schemes provide for the product. Sometimes, the use of sex also affords shock-value that frequently triggers social debate and helps in the product promotions continuing recall. Author of The Erotic History of Advertising Tom Reichert has this to say Many real-life examples from the 1800s to the present exist to suggest that it has worked, and does work, to inflame not only consumers libidos but their motivations and desires to make purchases. In some cases, sex in advertising contributes to the building of strong, vibrant and long-lasting brands (Reichert, 2003, p. 9). As it is, the incessant use of sex in advertising from the 1800s until these days is a demonstration of the fact that it is an effective tool that works for advertisers. Literature Review Sex Appeal in Advertising Advertising is one of the most prolific and all-encompassing forms of communication in the world (Reichert, 2003, p.20). This type of company to customer communication lifts several concerns about the ethics of advertising because its practice is very convincing and powerful (Treise and Weigold, 1994). Advertising has turned to become an excellent way for business firms to create a positive image for them and for the public to easily adapt to such image. Image creation is a public relations approach that has increasingly aimed young adults and teens because they are not interested on conventional direct advertising (Goodman and Dretzin, 1999), obviously, advertisers target the demographic group of young adults and teens because they account for a huge amount of American consumer spending. The practice of utilizing sex appeal in advertising is nothing new. Sexual images (nudity) can be found in advertisements as far back as the late 1800s and in the early 1900s, it was used to sell soaps, perfumes and creams. These advertisements claimed to transform any woman to become sexier for a mans pleasure and as sex advertising boomed in the 40s and 50s, controversy abound. Until today, a lot of business enterprises find sex appeal as an effective tactic in advertising. When Maidenform bras began to use models with their shirts off, it became the number one bra company and when Jovan fragrance used sexuality to sell its product, company revenues soared from $1.5 million to $77 million in just seven years (Reichert, 2003). In a 1981 study conducted by Reid and Soley, advertisements were more likely to be appealing and immediately recognized if an attractive endorse is used (Severn and Belch, 1990). In another survey, 32% of consumers confessed that there is strong likelihood of them buying a product if it uses an advertisement with strong sexual undertones (Fetto, 2001). Capitalizing on the idea of sex appeal, people sell their products with the notion that such product is for sexy people and to own that specific product can make any person sexy. Such sexiness can be depicted through the clothes being worn, the models poses, the lighting being used in the advertisement, positioning of the models or in their facial expressions, location used, and interaction. Likewise, companies employ this idea to connect the company image with allure and prestige. As it is, sexuality associates brands with sexual activities and increased attractiveness, something desired by consumers (Reichert, 2001/2003). Although the argument that wanton sexual appeals generate off-putting results because of perceptions of disreputable and scheming practices is basic and extremely valid, it also assumes a deliberative, cognitive mechanism. Past research investigations have found that the process of judging whether a persuasive message infringes ethical standards or not demands cognitive effort (Campbell and Kirmani, 2000). Yet end users characteristically spend little time and effort when viewing an ad (Sengupta and Gorn, 2002; Burnett and Moriarty 1998; Kassarjian, 1977). Hence, it is imperative to understand reactions to improper sex appeals under thin slice processing (Ambady, Bernieri, and Richeson, 2000), such as when consumers view ads under constricted cognitive capacity. Without a doubt, unstructured, spur-of-the-moment, uncontrolled responses may be quite different from more cautiously considered responses in the sphere of sex-based advertising. Recent research by Sengupta and Dahl (2008) examined non-deliberative reactions to the gratuitous use of sex in advertising. Men and women in these experiments were placed under high cognitive load while viewing an ad that showed an unequivocal sexual image and a nonsexual image. Unlike previous research that has found that both men and women abhor the gratuitous use of sex in advertising, a gender difference surfaced under constrained conditions, that is, men preferred more the advertisement containing a sexual image (compared to the nonsexual image) whereas women reported considerably adverse mind-sets toward the overtly sexual ad compared to the nonsexual advertisement. Basically, sexual imagery sets off an emotional response or reaction. In other words, viewers are, all things being equal, favorably energized by sexual information (Reichert, 2007, p. 6). With this in mind, advertising organizations employ sex in several different ways to try and convince and influence end users to purchase a product. Individuals seek out and are willing to pay for sexual content in mainstream media (Reichert, 2007, p. 7), an example of this reality is the sale in millions of copies of Cosmopolitan and Maxim each month. These magazines ads have become more competitive and risquà © due to the idea that an ad needs to be noticeable and must draw attention. Some advertisers may push the boundaries of acceptable sexual content because of direct competitive pressure. Certain product marketers utilize a higher proportion of sexual appeals than other marketers because of the nature of the product and the relevance of sex to product benefits (Reichert and Carpenter, 2004). Another approach being used to draw customer attention is the idea that upon purchasing a product, such will make the buyer more sexually attractive, or can have more sex or can have a better sex life (Reichert, 2007), thus, people who are seeking for such qualities are more likely to pay for a product if the ads are sexually evocative. Gender Expression, Sexuality and Advertising This rather outmoded depiction of gender and expression of sexuality continues to be exploited in modern-day advertisements principally because it is an unbeaten prescription that brings in financial incentive and this will continue as long as women believe even if only for a brief moment that acquiring the advertised product will bring them one step closer to attaining the unattainable. As what was pointed out: those who are dissatisfied with their looks, their bodies, their status, make great consumers (Lee, 2003, p. 134). Furthermore, Nancy Etcoff (2000) sums it up well: to tell people not to take pleasure in beauty is like telling them to stop enjoying food or sex or novelty or love. This is an impracticable likelihood because to like and to want is instinctive in human character. Advertisers are intensely conscious of this as they create advertisements filled with representations of dazzling, extremely sensuous women. Women as Primary Focus? For many decades, numerous people believed that women are the major focus of sex appeals employed in advertising, however, this is not necessarily correct. It is true that women look as if they are the target most recognized in sexual appeals, but men have been targeted more recently. If women have often been the targets of sexual advertising, it is because it appears to work in many cases. As it is, sex is a potent and a convenient method of obtaining male attention and making a product desirable and in advertising, it is easy to get a mans attention by using womens bodies and associate it to the idea of getting the women as well if he buys the product (Taflinger, 1996, p.8). The most well known target of women as sexual appeals has been in beer commercials. Usually the ads go something like this a beautiful woman is sitting at a bar and a man comes up and she does not notice him at all. Then he orders a certain kind of beer and all of the sudden, he is desirable to this woman. They then get caught up in the moment and ultimately the man gets this woman (because of the beer). Another example of the man getting the hot woman because of a particular product that supposedly makes the man more desirable to the women is the AXE advertisement. AXE is a body spray for men. In the commercial, the men who use AXE get beautiful women. In fact, AXE is so effective that if in any way you come in contact with this body spray, you will be instantly wanted. There is also a commercial which features an old man getting a young, hot woman because of the AXE effect. Women are exploited repeatedly in advertising as sex appeals. But, some do not become conscious that these advertisements are often aimed at women as well. Victorias Secret is a classic example of this. Advertisers obviously want women to think that if they purchase Victorias Secret products, they could look like those stunning, sexy endorsers on the commercials seen on television or in the print ads. Obviously, these bra and panties are not going to look very good on just anyone, however, at first glance, a woman could think, wow, she looks splendid; I should get that outfit so I can look that good too. In truth, women are not the only focus in sexual appeal advertising. Men play a huge part as well. According to Taflinger (1996), It is rare for advertising to use sex as an appeal for women. Women are often less interested in the sex act itself for its own sake. They are interested in sex for what it can mean in the future. They may enjoy it as much as men, but for them it has far greater significance. Advertising cannot take advantage of a womans instinctive sexual desire because advertisings job is not to build for the future-it is to sell a product now (p. 6). Here, Taflinger attempts to elucidate the fact that women are not interested in sexual appeals on television, rather, they are interested in sex for their future. Although this seems to be correct in some instances, it is questionable when thinking about all of the ads that target men as the sex selling object. Sex Appeal and Product Branding Sex in advertising can also produce positive mind-sets and sentiments about the ad or product brand. Using catchphrases are huge in the industry along with sexual overtones. A popular example is Las Vegass tagline what happens here, stays here (Reichert, 2007). This is very indicative and interesting; people want to go to Vegas so they can find out for themselves what its all about. Sex in advertising is controversial and it is vital to reflect on consumers outlooks and points of view. While many feel there is too much sex in advertising (Treise and Weigold, 1994), most people feel that if sexual commercials are crafted with relevance and aptness, these are more likely to be accepted (Gould, 1994; Treise and Weigold, 1994). Innately, concerns and apprehensions crop up when sex appeal usage are viewed by unintended (Gould, 1994). Similar disquiet appears when advertisers target teens and young adults with these advertisements. There are concerns that these advertisements are venerated by young people and teach these young adults improper conduct (Reichert, 2001). Negative facets of this target audience advertising consist of women idolizing the sexual models being used to endorse a product and compare themselves to the advertisements (Gould, 1994). In a survey, 55.2% of respondents agreed sexual advertisements influence a teens decision to be sexually active (Tre ise and Weigold, 1994). However, the idea in advertising is give and take; the media learns from teens and teens learn from the media (Goodman and Dretzin, 1999). One cannot exclusively say who manipulates whom, so much so that even though end users anxieties arise, sex continues to be used as an powerful advertising approach. Reichert and Carpenter found that the level of sexual advertisements has remained constant from 1993 and 2003; the only thing that had increased was the females level of dressing as it has become more provocative and sometimes offensive (2004, p. 828). It is fascinating to note that some research investigations found the degree of sexuality actually increased over time. Reichert and Carpenter (2004) conducted an extension of a study that evaluated the degree of sex in 1983 and 1993. Magazine advertisements particularly were content analyzed from 2003 and compared with the issues of the previous years. The general outcomes signified that women not only persisted to be represented in a sexual manner, but that the degree of sexuality increased over time. For instance, advertising became extensively more overt from 1983 to 2003 and clothing (or lack of it as the case may be) largely contributed to this. Results revealed that in 1983 only 28% of female models wore sexually explicit clothes. This rose by 75% in 2003 when 49% of models were dressed in sexual attire. Thus, in 2003 virtually half of the models featured were shown with less rather than more clothing to be exact, in 2003 almost 4 out of 5 women who appeared in ads were sugge stively dressed, partially clad, or nude (Reichert and Carpenter, 2004)). Moreover, the images of women that were most sexually explicit were featured in mens magazines. As Linder (2004) found, general interest magazines, such as Time contained the least degree of sexualized images, when compared with magazines aimed predominantly at men and women. The increase of sexuality over time could be associated with the likeness of products that are available today. It is presumed that in 1983 there was not such an immense collection of products available on the market, and therefore did not need to be distinguished from each other to such a great degree. Furthermore, in those years, advertisers were rendered inadequate by the capability of computer graphic technologies. This is definitely not the case today and advertisers frequently resort to stimulating images to make a distinction between similar products. Particularly, according to Reichert and Carpenter, specific merchandise are promoted in a more sexual manner due to the character of the product, such as fragrance and clothing (although clothing is also often used as a means to sexualize other products). Theoretical Framework People are continuously evaluating themselves with others and this is certainly no exception when addressing advertising, particularly among women. According to Stapel and Blanton (2004), an important source of self-knowledge comes from other people. Human beings maintain a sense of who they are by contrasting their own capabilities and characteristics to other people. This so-called social comparison theory was instigated in 1954 by Festinger, who hypothesized that individuals have a longing to appraise their views, judgments and abilities that can be satisfied by social comparisons with other people. Using this premise as a scaffold, many studies have been carried out, predominantly in reference to females which raise the question does advertising take advantage of consumer tendencies to alter their body or image of themselves by creating anxieties and discontent with the self? Relative to its effect on adolescent girls which Martin and Gentry (1997) studied, the answer is yes, advertisers especially of young fashion magazines do exploit this mindset among adolescent girls, who evaluate their physical beauty with that of models in the advertisements. Martin and Gentrys study has proven that, consistent with the social comparison theory, female pre-adolescents and adolescents self-perceptions and self-esteem can be destructively impinged on when self-evaluation takes place. Other studies have suggested that advertising can have a vital role in creating and highlighting a fixation with physical charm (Downs and Harrison, 1985), and may manipulate consumers awareness of what is an adequate level of physical attractiveness (Martin and Kennedy, 1993). This conception of advertisers taking advantage of consumers perception of themselves is unswervingly associated with sex appeal in advertising. Recently, advertisers have endeavored into a contentious area with their use of female sexual images and a focus on distinct body parts, language and sex-role portrayals. These advertisers are profoundly conscious that sex appeal in an advertisement has the capacity to exert a pull on women on the premise of social comparison. In a study conducted by Craik, Clarke, and Kirkup (1998), women who were sensitive of stereotypes and were even aware of the spuriousness of the industry still desperately want to imitate these images. Such is the explanation why advertisers reportedly pay huge amounts of money every year to have their products endorsed by alluring and well-admired women, since their beauty or personality is assumed to add dazzle to the products they promote (Langmeyer and Shank, 1994). Recommendations For media and advertising practitioners, it is important to apprise the audience who will be viewing the ads before putting sexual innuendos into the advertisement piece. Advertisers need to recognize the moral intricacy of sexual appeal in advertising and integrate that understanding in their strategic thought and when designing their commercial pieces. As what Henthorne and LaTour, (1994) stated, as the ethical considerations of society change over time, what is considered appropriate and acceptable in advertising must also change (p.88). Hence, it is imperative to incessantly reassess what society would consider suitable and consider the full level of consequences of their actions before considering for what they make out as ethically acceptable.

President Bill Clinton :: William Jefferson Clinton Essays

ST. JOSEPH, Minn., Dec. 17, 1998 — A psychological study of President Bill Clinton, conducted before the 1996 election, predicted that the Clinton presidency would be "troubled by ethical questions and lapses of judgment," but that the president would "retain a following and maintain his self-confidence in the face of adversity." The investigation revealed serious flaws as well as redeeming features in the president’s personality, and found his motives to be "vastly different from those that scuttled the political career of Richard Nixon." The study, by associate professor of psychology at the College of Saint Benedict and Saint John’s University, Aubrey Immelman, was published this fall in the journal Leadership Quarterly. Immelman concluded that in a second presidential term Bill Clinton would likely continue to display his "driving ambition, supreme sense of self-confidence, and personal charisma," but offered the "sobering caveat" that President Clinton’s character contained "the seeds of its own undoing." Specifically, Immelman determined that President Clinton’s personality was an amalgam of ambitious and outgoing personality styles. According to Immelman, these patterns incorporate adaptive aspects of the narcissistic and histrionic character types described in the clinical personality literature. Ambitious personalities are assertive, self-assured, persuasive, self-centered, and have a tendency to be arrogant, acting as though entitled. Outgoing personalities are gregarious, image-conscious, easily bored, charming, seductive, glib and inventive, and believe they can readily charm and influence others. The study was conducted before the president’s affair with Monica Lewinsky came to light. Asked what the president’s character reveals about his sexual risk taking, Immelman noted that personality theorist Theodore Millon of the University of Miami has found that a distinctive feature of the ambitious-outgoing personality composite (as in the case of Bill Clinton) is "an erotic and seductive orientation." According to Millon, such individuals may have an indifferent conscience and aloofness to the truth, which, if brought to their attention, is likely to elicit nonchalant innocence. They are driven by a need for excitement, stimulation, and challenge and tend to be undisciplined, traveling an erratic course of successes, failures, and abandoned hopes. Although they may leave a trail of broken promises and outrageous acts, their disregard for the truth and their talents for exploitation and deception are rarely hostile or malicious in intent. With reference to the current impeachment proceedings against the president, Immelman said that failings associated with ambitious, outgoing personalities such as President Clinton are typically limited in scope, extending primarily to self-indulgent excess, including sexual intemperance.

Flannery O’Connor’s “A Good Man is Hard to Find”

They say that God’s way are inscrutable, and this saying characterizes the concept of Flannery O’Connor’s story A Good Man is Hard to Find . The theme of living an empty life and the possibility of revelation for everybody is the main idea of the author. Through telling a simple, sometimes even comical story about common people, their stereotypes and narrow-mindedness she discloses the lack of spirituality in human life. This makes up the theme, which the author intended to raise. Speaking about the setting, it is important to mention that it by genre it can be referred to the so-called road story, which presupposes travel from one place to another – on the special level. But there is always a hidden message behind, which constitutes the figurative level of the narration. We know perfectly that a road is a popular metaphor of life and naturally a person who is moving along this road undergoes a kind of mental and spiritual change. The same is true about Flannery O’Connor’s piece of writing. The journey is from Georgia to Florida with a background of beautiful scenery: â€Å"Stone Mountain; the blue granite that in some places came up to both sides of the highway; the brilliant red clay banks slightly streaked with purple; and the various crops that made rows of green lace-work on the ground. The trees were full of silver-white sunlight and the meanest of them sparkled†.   A family of the Grandmother, her son Bailey with his wife and children make a trip by car a picturesque nature, paying no attention at it at all. The only person who is interested is the elderly lady but for some specific reasons – nostalgia about â€Å"the things as they used to be† and because travel can be educational for kids. Is it the road to heaven or to hell? I will try to answer this question further on. The plot, which forms the external texture of the story seems to be a case of fatal misfortune. The family goes travelling, get into a road accident in a remote area and are caught by a band of serial killer the Misfit who kills the whole family. Therefore, the external movement is from life to death. Internally, however, the direction is the opposite one, from death to life. This implication is embodied first of all in the character of the Grandmother, who has no name in the story. This fact of namelessness proves her to be a typical product of the contemporary society, deprived of any significant individuality. She is selfish, manipulative and full of herself as we meet her first. She is devoted to the past believing that â€Å"People are certainly not nice like they used to be†, the phrase which is not only her life credo but also reflects her attitude to herself. She considers herself to be good and right and does not notice that her values are false. Meeting with the Misfit, feeling herself at the brink of death causes dramatic change within the old woman. There is an irony in the fat that revelation to her is brought in such an unconventional way – through a religious talk with serial killer. But at the same time this is done by the author deliberately to signify some higher wisdom. The Misfit is a peculiar character, his name symbolizing all people’s loneliness and loss and emptiness. They don’t belong to the world God created for them, they mis-fit. And the problem is not like the Grandmother considered that people are not as nice as they used to be. The world we live in is our own reflection. As a matter of fact, the killer and the decent elderly woman who dresses up neatly because she wants to look like a lady in case of being killed in an accident, are not so far away from each other as they might seem to be. They were both brought up in the atmosphere devoid of spirituality and both of them have no God in their soul. The difference is that the Misfit recognizes the fact but the Grandmother doesn’t. She hides herself behind the conventional stereotypes of religion, which lies in habitual going to the church, praying on a regular basis, stealing nothing from the respectable citizens and so on. In a tough situation she first tries to appeal to the religious feelings of the killer but she fails because she is herself being superficial in her faith. That’s why when she tries to pray to Jesus, asking for help, her words come out differently: â€Å"Finally she found herself saying, â€Å"Jesus. Jesus,† meaning, Jesus will help you, but the way she was saying it, it sounded as if she might be cursing†. At this point she realizes that her faith was fake and at this very moment a new opportunity is given to her. Surprisingly, it is the Misfit who opened her eyes and her soul. He himself recognizes he doesn’t believe in God, the only thing which is definite is death. That’s why he thinks that Jesus broke balance when he raised the death. There would have been nothing certain left in the world, even death, if it were true. The misfit expresses an idea, which is very important: without spirituality one might as well â€Å"enjoy the few minutes you got left the best way you can — by killing somebody or burning down his house or doing some other meanness to him.† He means that if you are not willing to accept God’s love, the sin remains the same whether you are doing it small crimes or in big ones. The lives of the Misfit and the Grandmother were equally empty because they rejected salvation, which is possible through love. These seconds are so vitally important and enlightening for the woman that her soul gets completely transformed. She is suddenly filled with that divine love. Looking at the criminal who has killed her family and is going to kill herself, she exclaims: â€Å"†Why, you're one of my babies!† She realizes that her son and her grandchildren are so empty because she didn’t give them the love she had to, that’s why she realizes that the Misfit is her child in this sense. At the end, when the Misfit kills the old lady, he makes an interesting conclusion, which reveals the idea of the whole story: â€Å"She would of been a good woman,† The Misfit said, â€Å"if it had been somebody there to shoot her every minute of her life.† The sentence raises an important issue: is it necessary for a person to be on the brink of life and death to realize what was wrong in his or her life? Do the true values reveal themselves from delusions only when you are about to die? Aren’t we too much involved in day-by-day repetition of events to stop and see the truth? Probably we are just too afraid to be nobody, to feel the emptiness? These important questions arise after reading the story. So, is it the road to heaven or to hell? Who knows. Many people believe that a person who has no moral laws inside is free in what he does and feels no remorse about he deeds. At the example of the Misfit we see that the truth is more complex than that. Probably he doesn’t feel remorse, as he has no faith and no God to lean on but the problem is he feels nothing at all. His crimes were intended to be a kind of rebellion against God whom he never had in his life but it is a bitter rebellion. At the end of the story we find out that he feels no fun and no pride challenging God. â€Å"There is no real pleasure in life,† he says.

Valcanoes Essays - Volcanology, Igneous Rocks, Plate Tectonics

Valcanoes Essays - Volcanology, Igneous Rocks, Plate Tectonics Valcanoes The distructive power of a valcano is one of the most violent and deadly of all natural forces. In a short period of time, these massive explosions of the earths crust can shatter whole communities. Valcanoes are very distructive no matter how big or how small they erupt at. They cause the highest amount of deaths and the greatest amount of damage. Of the two major types of Volcanoes, andestic and basaltic, the two typical volcanoes begin life when a mass of low-density magma forces its way to the surface. When the density of the rising magma is the same as that of the surrounding rock, it gathers in a magma chamber. Any rise in pressure in the chamber may now push the magma upwards through cracks in the overlying rock. As the magma traveling up a crack approaches the surface, the pressure from the overlying rocks reduces; gases are released from the magma and expand so suddenly that an explosion rips open a funnel shaped vent (called a diatreme) to the surface. The lava that blasts out of the vent then cools, to form cinders, ash and dust - all referred to as Tephra. A ring of tephra collects around the vent and, as the eruption subsides, this blocks up the diatreme. Volcanoes have erupted in many different places. Volcanoes have erupted in The Philippines, Java, Papua New Guinea & Hawaii and many other places. The Ring of Fire, located around the Pacific Ocean, is 20 or so places with active volcanoes in them joined by one big imaginary line that forms a circle (or Ring) when scaled down to the size on a map. Somewhere in the world an eruption occurs at least once a month. Whether it be big or small it doesnt really matter at all. If it kills 1 person or 1 000 people it is still counted as an eruption. In some countries volcanoes are common and erupt frequently as in Hawaii. But in other countries like Australia there are no eruptions at all. That could be because all the volcanoes are dormant or there are simply no volcanoes at all. In 1815, the most devastating eruption ever recorded, killed approximately 92 000 people. 10 000 people died directly from the volcano and a further 82 000 died from famine. The volcano is located at Tambora, Sumbawa in Indonesia. Recently a volcano erupted in Monserrat, West Indies. It devastated farms, houses and streets became rivers of lava. Bibliography Just about valcanoes, it's kinda lame but oh wel