Read What Gurus are Saying About Fundamentals of Essay Writing an Orientation Manual

Read What Gurus are Saying About Fundamentals of Essay Writing an Orientation Manual Fundamentals of Essay Writing an Orientation Manual You might be asked to compose an essay when applying for a particular job or another type of examination. Finding out how to write a great essay can appear difficult, but it does not need to be. Essay writing is just one of the critical assignments that are being assigned to students at each degree of studies. In school, it is been made to be a part of our learning activity. Students have a challenging time in writing the essay since they do not understand what approach they'll utilize. They learn to write effectively when they write more often. In eighth grade, they use every phase of the writing process and continue to build their knowledge of writing conventions. Some students become scared to begin writing. The location of an internet work should incorporate a URL. Prewriting In the prewriting phase, you want to brainstorm about this issue and the most important idea. Always keep in mind that the crucial element to have a fantastic writing is to realize the topic. There are lots of things that it is possible to find out when reading different materials. You're the narrator and thus you have to do the talking. The entire intention of essays is to analyse your ideas and judgments about a certain topic and how well you're ready to structure them in the shape of words on paper. Moreover, you fail entirely to deal with the topic of the essay. Now you know the essay genre, it's time to analyze the particular topic you've got to write about. The essay can't be written according to standard essay scheme on account of the reason that the thesis statements in addition to conclusions are blurry. You can't simply begin writing an essay the moment you read the topic. Essay writing is definitely thought to be part of academic life and essay writing demands certain abilities or the region of the writer. Writing an introduction provides the readers an idea what you're likely to include or conclude in your essay. While some might call essay writing a skill, but if one understands the strategies and tricks and can master them, essay writing may not be such a struggle. When you first begin writing essays in school, it isn't uncommon to have a whole topic assigned to you. The Ultimate Strategy to Fundamentals of Essay Writing an Orientation Manual Procedure manuals provide a means of outlining steps to follow for different small business circumstances. Such systems are made to protect against any failures that cause accidents, incidents and prosecutions. A policy is a rule that's determined by the managers of a company to be certain that everyone has an understanding of expectations. Simply speaking, policies have a tendency to exist to defend the firm. Most Noticeable Fundamentals of Essay Writing an Orientation Manual Upload to Turnitin to make certain it passes the plagiarism filter and you're ready to go! Enlarge your wordlist, if you don't need the examiners to truly feel bored on account of the restricted vocabulary. You have to compose a reflective essay that is simple to comprehend and you can do it by utilizing simple language. Certain referencing requires you to produce footnotes at the base of the webpage, whereas others just require a works cited page. What You Must Know About Fundamentals of Essay Writing an Orientation Manual You've made a plan so you've got the pieces, you simply need to put them together. Evaluate each topic, think of the quantity of ideas you've got about doing it. After some time you're going to be in a position to compare your earlier works having the most recent efforts, analyze and make your own tips. Along each line, write the key ideas that you have regarding your topic, or the key points that you would like to make. A History of Fundamentals of Essay Writing an Orientation Manual Refuted Some might say it is a gifted ability, but using a small practice and time, everyone can do it. Using examples is a wonderful method to spell out any sort of information. Following that, you may give your work to somebody else to read it over. There is no correct method to do anything. Fundamentals of Essay Writing an Orientation Manual - the Story If this activity is an assignment which requires teacher feedback, you will submit the assignment and watch for feedback before you move on. You summarize as opposed to analyze. Plan the areas on which you need to work to create an appropriate structure. Top Fundamentals of Essay Writing an Orientation Manual Choices The ability to create high-quality paper is really important and intricate skill. All the data obtained has to be reviewed by the audit team as a way to present the information to the manageme nt and therefore determine the degree of compliance. In any data processing, the scaling of information is vital because it provides the approximate area of information collected and is simple to estimate. In the scaling of information, it's quite simple to come across the missing values of the raw data as there is consistency that is reflected in the approximation of information. The B paper takes hardly any chances and makes few essential claims. As usual, you'll need an introduction, middle, and a conclusion, but you will need to work out what you're likely to say. This kind of situation demands careful planning. You know they say if you would like to acquire new understanding of the special question you should write a paper.

What is a Sample Outline For a Five Paragraph Essay?

What is a Sample Outline For a Five Paragraph Essay?What is a sample outline for a five-paragraph essay? It is one of the most important parts of writing. When I started writing, the only way I could get a good feel for how to write was to use outlines and all the information contained in them. One of the best things about outlines is that they give you exactly what you need and no more.If you are writing an essay for school or a college, the outline is a great tool to help you organize your thoughts into paragraphs and eventually sentences. Here are some tips on how to make your own outline.First of all, you must think about what you want to outline. Your focus is on the outline. No matter what you are writing, writing your outline first will help you create the most organized paragraph. Having a title and information to the paragraph will make it seem more complete. Have a goal in mind when you are writing your outline.Once you have an outline, be sure to create a list of all the c hapters in your outline. Once you have a list, be sure to write everything down in chronological order, and start with the top of the list to the bottom of the list.Now it's time to start organizing your thoughts. Find the first paragraph of each chapter and organize your thoughts there. For example, if the chapter is 'Stories,' be sure to organize your thoughts on a personal story that fits within that chapter.Now it's time to move on to the next paragraph of the chapter. Again, use the first paragraph as a jumping off point for your paragraph and organize your thoughts within that first paragraph. Be sure to organize your thoughts chronologically. After the first paragraph, start working in the second paragraph, then the third, etc.When you finish writing your first paragraph, you will want to use the information in the paragraph and organize your thoughts within that paragraph. Use this information to your advantage and have your main point inside the first paragraph. Then you mo ve on to the second paragraph and so on. Remember to create a title for each paragraph and organize your thoughts within that title.When you have finished the first paragraph and have had your paragraph to organize your thoughts, you can move on to the second paragraph and so on. Remember to have your first paragraph set up the way you want it before you go to your second paragraph. A sample outline for a five-paragraph essay will help you create an organized paragraph and help you create a proper outline for your essay.

Virgina Woolf Vs.Helene Cixious Essays - Literature, Feminism

Virgina Woolf Vs.Helene Cixious Compare Helene Cixous's position on women's writing with that of Virginia Woolf in A Room of One's Own. Do you think they would agree with each other? Why or why not - which aspects seem similar, which ones different, and which ones may perhaps be seen as complimentary to each other in some way? Let's do a hypothetical situation here. Imagine Virginia Woolf and Helene Cixous in a room, alone, discussing women's writing, and position in society. This is something I would like to see. I think that the conversation would be a highly animated one, filled with anger, disagreement, and heartfelt unity. Take Cixous's position on women, saying that only through understanding one's body, and the refusal to reject it, can a woman truly write. Saying that only at the end of patriarchy and the end of the Phallocentric culture we live in today can a woman write something that has meaning. Without repression ?woman's imaginary is inexhaustible, like music, painting, writing, Their stream of phantasm is incredible? (Laugh p.246) Woolf claims that women can write under this system of repression, as long as she has a space of her own. Where she is uninterrupted by life outside that room. Both Cixous and Woolf discuss the lack of women's writing in history. Woolf talks about the lack of ?mothers? (women writers from the past). She believes that this silence of her foremothers is a serious detriment to women's style of writing today. Cixous does not directly mention this but, some of the things she wrote leads one to believe that she agrees with Woolf on this point. ?Just on the point of being discovered?millennial ground to break?I refuse to strengthen them by repeating them.? (Laugh p.245) .? ?Women must put herself into the text - as into the world and into history.? Here I think she is saying that women's writing is a ground yet uncovered and her refusal to strengthen the silence. ?I know why you haven't written, because writing is at once too high, too great for you, It's reserved for the great ? that is for great men.? (p. 246) Both Woolf and Cixous write about the oppression by men, and how this affects women's writing. While this is Cixous's main point in Laugh of the Medusa?, Woolf only mentions this a few times. Mainly in the universities, where women are not allowed to walk on the lawn, or enter the libraries without being accompanied by a male scholar, How there is a world of knowledge closed from women. Cixous states ?I'm speaking of woman in her inevitable struggle against conventional man. Both encourage other women to write. Woolf claims that it is not only for change that women must write, but also for her own selfish purposes, the simple fact she likes to read. Cixous urges women to gain back themselves and their bodies through writing. ?Writing is for you, you are for you, your body is yours, take it? (p. 246) Both agree that men and women have two different styles of writing, here Woolf doesn't exactly state this, but states ?It was refreshing to read a man's writing, although there seemed to be an underlying ?I? behind the scene he created? (2). Cixous states ?I write woman, woman must write woman, and man, man.? (p.247) Bibliography Virginia woolf - in search of our mother's garden Philosophy

How to Sing Happy Birthday in Chinese

How to Sing Happy Birthday in Chinese The Happy Birthday Song has a strangely contested history. The tune was originally composed in the late 1800s by Patty and Mildred Hill, though the lyrics were not the same. In fact, the Hill sisters titled the song Good Morning To All. Somewhere along the way, the phrase happy birthday became associated with the melody. In 1935, the Summy Company registered a copyright for the Birthday Song. In 1988, Warner Music bought that copyright and has been making big bank ever since. Warner Music charged royalties for public performances of the Happy Birthday Song and appearances in film soundtracks. Only until 2016 did the popular song become public domain. In February 2016, a US federal judge closed a case ruling that Warner Music does not hold a valid copyright to the Happy Birthday Songs lyrics and melody. Now, the Birthday Song finally belongs to the public and is considered one of the most popular songs in the world. It has been translated into many languages, including Mandarin Chinese. Its an easy song to learn in Chinese since it is essentially just two phrases repeated over and over again.   Practice speaking the words to this song before singing them. This will ensure that you are learning the words with the proper tones. When singing in Mandarin Chinese, sometimes the tones are not clear given the melody of the song. Notes   Ã§ ¥  (zhà ¹) means wish or express good wishes. ç ¥ Ã¤ ½   (zhà ¹ nÇ ) means wishing you.   Ã¥ ¿ «Ã¦ ¨â€š (in traditional form) / Ã¥ ¿ «Ã¤ ¹  (simplified form) (kui là ¨) can be preceded by  other happy events  such as Christmas (è â€"è ªâ€¢Ã§ ¯â‚¬Ã¥ ¿ «Ã¦ ¨â€š / Ã¥Å" £Ã¨ ¯Å¾Ã¨Å â€šÃ¥ ¿ «Ã¤ ¹  / shà ¨ng dn jià © kui là ¨) or New Year (æâ€" °Ã¥ ¹ ´Ã¥ ¿ «Ã¦ ¨â€š / æâ€" °Ã¥ ¹ ´Ã¥ ¿ «Ã¤ ¹  / xÄ «n nin kui là ¨). Pinyin shÄ“ng rà ¬ kui là ¨zhà ¹ nÇ  shÄ“ng rà ¬ kui là ¨zhà ¹ nÇ  shÄ“ng rà ¬ kui là ¨zhà ¹ nÇ  shÄ“ng rà ¬ kui là ¨zhà ¹ nÇ  yÇ’ngyuÇŽn kui là ¨ Traditional Chinese Characters 生æâ€" ¥Ã¥ ¿ «Ã¦ ¨â€šÃ§ ¥ Ã¤ ½  Ã§â€Å¸Ã¦â€" ¥Ã¥ ¿ «Ã¦ ¨â€šÃ§ ¥ Ã¤ ½  Ã§â€Å¸Ã¦â€" ¥Ã¥ ¿ «Ã¦ ¨â€šÃ§ ¥ Ã¤ ½  Ã§â€Å¸Ã¦â€" ¥Ã¥ ¿ «Ã¦ ¨â€šÃ§ ¥ Ã¤ ½  Ã¦ ° ¸Ã©   Ã¥ ¿ «Ã¦ ¨â€š Simplified Characters 生æâ€" ¥Ã¥ ¿ «Ã¤ ¹ Ã§ ¥ Ã¤ ½  Ã§â€Å¸Ã¦â€" ¥Ã¥ ¿ «Ã¤ ¹ Ã§ ¥ Ã¤ ½  Ã§â€Å¸Ã¦â€" ¥Ã¥ ¿ «Ã¤ ¹ Ã§ ¥ Ã¤ ½  Ã§â€Å¸Ã¦â€" ¥Ã¥ ¿ «Ã¤ ¹ Ã§ ¥ Ã¤ ½  Ã¦ ° ¸Ã¨ ¿Å"Ã¥ ¿ «Ã¤ ¹  English Translation Happy BirthdayWish to you happy birthdayWish to you happy birthdayWish to you happy birthdayWish to you happiness forever Hear the Song The melody of the song is the same as the birthday song in English. You can hear the Chinese version sung to you by the crooning Mando pop-star Jay Chou.

Beauty is not so easily measured

It is a story about beauty and this man’s relationship to beauty, and the psychological relationship he has to the idea of beauty and what is behind the idea of beauty. Yasunari wrote â€Å"The Man Who Did Not Smile† as a first-person account from the film writer’s standpoint.   The man is on location for a film he has written about patients in a mental hospital, and is in the process of discovering a final scene for his film.   He finds it one morning while â€Å"gazing out on the Kamo River,† (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a mask that he had seen in a display window.   It is that image that gives him the idea for his final scene of the movie, â€Å"a daydream† (p. 129) filled with masks of smiling faces. The search for the masks to be used in the film becomes the central drama of the story—and the protagonist’s relationship to those masks once he takes them to his wife and children after the filming of the movie is complete.   The masks are delicate and the actors must handle them carefully.   Yet, there is some power within those masks.   The film writer decides to buy them so they can be handled without fear of them being destroyed, and it is in the power of those masks that the protagonist realizes his own relationship with beauty. â€Å"Well then, I’ll buy them.   I did actually want them.   I daydreamed as if awaiting the future when the world would be in harmony and people would all wear the same gentle face as these masks.   (p. 131) His children love the masks, but he refuses to wear them.   His wife agrees to put one on, and it is in that moment that he discovers his true relationship to his wife’s beauty.   â€Å"The moment she removed the mask, my wife’s face somehow appeared ugly† (p. 131).   It is as though he is seeing her face for the first time—and his own idea of her beauty, or, in this case, the â€Å"ugliness of her own countenance† (p. 131).   As his wife lay in the hospital bed, he is faced not only with a new idea of beauty, but his own sense of self—one that might appear as â€Å"an ugly demon† (p. 132) to his wife.   He would be exposed to his real self, his true nature. Psychologist C. G. Jung writes that the mask can be seen as the outer persona we show to the world, the way we want to be seen (Jung, 1929/1983, p. 96).   â€Å"The mask is the ad hoc adopted attitude, I have called the persona, which was the name for the masks worn by actors in antiquity† (Jung, 1921/1983, p. 98).   The narrator is forced to confront not only what lies behind his wife’s beauty/ugliness, but also his idea of his own beauty/ugliness.   The â€Å"beautiful mask† (p. 132) reveals another question, too:   whether or not the face he sees on his wife could be artificial, too, â€Å"just like the mask† (p. 132).   It’s a perplexing question, but one that reveals, like the mask, much about the filmmaker’s relationship to himself and his world. While the idea of beauty colors Yasunari’s 1963 â€Å"palm-of-the-hand† story â€Å"Immortality,† the concept of eternal love is the central theme.   In this short story, two lovers have reunited after being apart for at least five decades—but their reunion comes in the afterlife, as they are now each dead.   Yasunari presents a portrait of an eighteen-year-old girl and a man sixty years her senior walking through some woods in a land they’d both known together while alive.   The scene is haunting as the girl is not aware the man has passed on into the afterlife until the end, when, upon that realization, the two â€Å"go into the tree and stay† (Yasunari, 1963/2005, p. 326). The love between the two has been eternal, in a sense—the girl killed herself because of her love for the man when they had to separate, and he wound up spending much of his life on the land overlooking that spot in the ocean where she died. The man has returned to the land where she died to reclaim her.   He wants to be with her forever.   However, he doesn’t know he is dead, and neither does she. Once she realizes he, too, is dead, they are able to reunite into eternity in nature, merging themselves into an old tree where they will live forever. Like â€Å"The Man Who Did Not Smile,† Yasunari uses the idea of beauty and the mask that we wear—Jung’s â€Å"persona†Ã¢â‚¬â€as an aspect of â€Å"Immortality.†Ã‚   The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a young man.   â€Å"You are eternally young to me,† (p. 325) she says, even though the man is now old. If I hadn’t drowned myself and you came to the village now to see me, I’d be an old woman. How disgusting.   I wouldn’t want you to see me like that.   (p. 325) For the girl, memories are important.   Her spirit carries them as she lives in the afterlife.   Scholar James Hillman says that memories are important for the soul, carrying with them energy that thrives for the departed person.   The girl realizes this, too, in a way:   â€Å"If you were to die, there wouldn’t be anyone on earth who would remember me,† she says (p. 325). The soul, they say, needs models for its mimesis in order to recollect eternal verities and primordial images.   If in its life on earth it does not meet these as mirrors of the soul’s core, mirrors in which the soul can recognize its truths, then its flame will die and its genius wither.   (p. 159) The girl imagines ugliness representing old age—that ancient mask we all wear once we have passed from the prime years of our life.   Even though the old man is wearing that mask, she doesn’t see it:   she has only her memories carried with her at the time of her death, so she sees him as an eighteen-year-old, also.   For the man, he never experienced his lover as an old woman; thus, her youth is indeed eternal for him. Yasunari uses few characters in both stories, keeping each â€Å"palm-of-the-hand† short and simple.   The narrator in â€Å"The Man Who Did Not Smile† is joined by the mask buyer, his wife, and his children in the tale, while it is only Shintaro and his young lover in â€Å"Immortality.†Ã‚   We do not see deeply driven characterization in either story, as Yasunari essentially paints portraits of each actor through their thoughts and actions.   Like a beautiful painting of a sunset or sunrise, we must use our imagination amidst the texture and colors of the painting to grasp its deeper meaning. Indeed, Yasunari’s beautiful use of words shines in both stories in his colorful imagery.   It is simple:   â€Å"An old man and a young girl were walking together,† he writes to begin â€Å"Immortality.†Ã‚   He ends that story almost the same way he begins â€Å"The Man Who Did Not Smile†Ã¢â‚¬â€with the picture of the sky. The color at evening began to drift onto the small saplings behind the great trees.   The sky beyond turned a faint red where the ocean sounded.   (p. 326). â€Å"The Man Who Did Not Smile,† on the other hand, begins with the image of the sky as well.   â€Å"The sky had turned a deep shade; it looked like the surface of a beautiful celadon porcelain piece† (p. 128).   It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves through the inner world of the film writer. Both stories are magical.   It is the â€Å"magic of those trees† (p. 325) that captures the imagination of Shintaro and his young lover.   Those trees are part of land his family owned, and he later sold to the men who turned the land into a golfer’s driving range.   The trees are on land overseeing the ocean where the girl jumped to her death.   Trees are sacred and magical in many mythologies.   Buddha gained enlightenment under the Bodhi Tree, and many myths use trees as the focus for rebirth (Anderson, 1990, p. 25).   In the same regard, the ocean, too, is a mythical place:   from where gods and goddess reside and in the Greek legend Odysseus sailed before being reuniting with his lover (Anderson, p. 25). The magic of â€Å"The Man Who Did Not Smile† comes in the healing properties of the masks.   It is through the image of the mask that the film writer is able to create an ending for his story—a â€Å"beautiful daydream† (p. 128) to conclude the â€Å"dark story† (p. 129).   The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them.   The masks magically hide what is true and meant to be revealed—whether it is an â€Å"ugly demon† (p. 132) or an â€Å"ever-smiling gentle face† (p. 132). What is also interesting about â€Å"The Man Who Did Not Smile† is in how the film writer’s screenplay is based on a scene inside a mental hospital.   We learn later that his wife is in a hospital of sorts—and we never learn the exact nature of her illness.   Could it be a mental hospital?   And might her hospitalization also be a reflection of his â€Å"gloomy† personality (p. 129)?   He’s afraid of what is hiding behind the masks—so much that his initial reaction to putting on the mask himself is fear.   â€Å"The mask is no good.   Art is no good† (p. 132).   Masks and art each reveal the hidden dimensions.   The film writer himself uses his films to balance his own â€Å"gloomy† personality.   Yet the shadows of life are revealed through film and art, and are experienced in hospitals.   Each is an aspect of â€Å"The Man Who Did Not Smile.† Yasunari gives much to think about regarding our relationship to each other and ourselves in â€Å"The Man Who Did Not Smile,† and to our relationship with the magic of eternal love in â€Å"Immortality.†Ã‚   Both reveal the hidden aspects of our existence on earth, offering us a short look at the feeling of living in a world of melancholy and loneliness amid what we call beauty.   Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunari’s works can be realized. Bibliography Anderson, William.   (1990).   Green man:   The archetype of our oneness with the earth. London:   HarperCollins. Hillman, James.   (1996).   The soul’s code.   New York:   Warner Books. Jung, C. G.   (1983). Definitions.   (R. F. C. Hull,Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 97-105).   Princeton:   Princeton University Press.   (Original work published 1921). Jung, C. G.   (1983). The relations between the ego and the unconscious.   (R. F. C. Hull, Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 94-97).   Princeton:   Princeton University Press.   (Original work published 1929). Ljukkonen, Petri.   (2005).   Yasunari Yasunari.   Retrieved November 19, 2005 from http://www.kirjasto.sci.fi/Yasunari.htm. Yasunari, Yasunari.   (1990).   The man who did not smile.   (L. Dunlop, Trans.).   In Palm-of-the-hand Stories.   (J. Martin Holman, Trans.).   (Pp. 128-132).   San Francisco:   North Point Press.   (Original work published 1929). Yasunari, Yasunari.   (2005).   Immortality.   In (G. Dasgupta, J. Mei, Ed).   Stories about us.   (Pp. 323-325).   Nashville:   Thomas Nelson Publishers.   (Original work published 1963). Beauty is not so easily measured It is a story about beauty and this man’s relationship to beauty, and the psychological relationship he has to the idea of beauty and what is behind the idea of beauty. Yasunari wrote â€Å"The Man Who Did Not Smile† as a first-person account from the film writer’s standpoint.   The man is on location for a film he has written about patients in a mental hospital, and is in the process of discovering a final scene for his film.   He finds it one morning while â€Å"gazing out on the Kamo River,† (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a mask that he had seen in a display window.   It is that image that gives him the idea for his final scene of the movie, â€Å"a daydream† (p. 129) filled with masks of smiling faces. The search for the masks to be used in the film becomes the central drama of the story—and the protagonist’s relationship to those masks once he takes them to his wife and children after the filming of the movie is complete.   The masks are delicate and the actors must handle them carefully.   Yet, there is some power within those masks.   The film writer decides to buy them so they can be handled without fear of them being destroyed, and it is in the power of those masks that the protagonist realizes his own relationship with beauty. â€Å"Well then, I’ll buy them.   I did actually want them.   I daydreamed as if awaiting the future when the world would be in harmony and people would all wear the same gentle face as these masks.   (p. 131) His children love the masks, but he refuses to wear them.   His wife agrees to put one on, and it is in that moment that he discovers his true relationship to his wife’s beauty.   â€Å"The moment she removed the mask, my wife’s face somehow appeared ugly† (p. 131).   It is as though he is seeing her face for the first time—and his own idea of her beauty, or, in this case, the â€Å"ugliness of her own countenance† (p. 131).   As his wife lay in the hospital bed, he is faced not only with a new idea of beauty, but his own sense of self—one that might appear as â€Å"an ugly demon† (p. 132) to his wife.   He would be exposed to his real self, his true nature. Psychologist C. G. Jung writes that the mask can be seen as the outer persona we show to the world, the way we want to be seen (Jung, 1929/1983, p. 96).   â€Å"The mask is the ad hoc adopted attitude, I have called the persona, which was the name for the masks worn by actors in antiquity† (Jung, 1921/1983, p. 98).   The narrator is forced to confront not only what lies behind his wife’s beauty/ugliness, but also his idea of his own beauty/ugliness.   The â€Å"beautiful mask† (p. 132) reveals another question, too:   whether or not the face he sees on his wife could be artificial, too, â€Å"just like the mask† (p. 132).   It’s a perplexing question, but one that reveals, like the mask, much about the filmmaker’s relationship to himself and his world. While the idea of beauty colors Yasunari’s 1963 â€Å"palm-of-the-hand† story â€Å"Immortality,† the concept of eternal love is the central theme.   In this short story, two lovers have reunited after being apart for at least five decades—but their reunion comes in the afterlife, as they are now each dead.   Yasunari presents a portrait of an eighteen-year-old girl and a man sixty years her senior walking through some woods in a land they’d both known together while alive.   The scene is haunting as the girl is not aware the man has passed on into the afterlife until the end, when, upon that realization, the two â€Å"go into the tree and stay† (Yasunari, 1963/2005, p. 326). The love between the two has been eternal, in a sense—the girl killed herself because of her love for the man when they had to separate, and he wound up spending much of his life on the land overlooking that spot in the ocean where she died. The man has returned to the land where she died to reclaim her.   He wants to be with her forever.   However, he doesn’t know he is dead, and neither does she. Once she realizes he, too, is dead, they are able to reunite into eternity in nature, merging themselves into an old tree where they will live forever. Like â€Å"The Man Who Did Not Smile,† Yasunari uses the idea of beauty and the mask that we wear—Jung’s â€Å"persona†Ã¢â‚¬â€as an aspect of â€Å"Immortality.†Ã‚   The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a young man.   â€Å"You are eternally young to me,† (p. 325) she says, even though the man is now old. If I hadn’t drowned myself and you came to the village now to see me, I’d be an old woman. How disgusting.   I wouldn’t want you to see me like that.   (p. 325) For the girl, memories are important.   Her spirit carries them as she lives in the afterlife.   Scholar James Hillman says that memories are important for the soul, carrying with them energy that thrives for the departed person.   The girl realizes this, too, in a way:   â€Å"If you were to die, there wouldn’t be anyone on earth who would remember me,† she says (p. 325). The soul, they say, needs models for its mimesis in order to recollect eternal verities and primordial images.   If in its life on earth it does not meet these as mirrors of the soul’s core, mirrors in which the soul can recognize its truths, then its flame will die and its genius wither.   (p. 159) The girl imagines ugliness representing old age—that ancient mask we all wear once we have passed from the prime years of our life.   Even though the old man is wearing that mask, she doesn’t see it:   she has only her memories carried with her at the time of her death, so she sees him as an eighteen-year-old, also.   For the man, he never experienced his lover as an old woman; thus, her youth is indeed eternal for him. Yasunari uses few characters in both stories, keeping each â€Å"palm-of-the-hand† short and simple.   The narrator in â€Å"The Man Who Did Not Smile† is joined by the mask buyer, his wife, and his children in the tale, while it is only Shintaro and his young lover in â€Å"Immortality.†Ã‚   We do not see deeply driven characterization in either story, as Yasunari essentially paints portraits of each actor through their thoughts and actions.   Like a beautiful painting of a sunset or sunrise, we must use our imagination amidst the texture and colors of the painting to grasp its deeper meaning. Indeed, Yasunari’s beautiful use of words shines in both stories in his colorful imagery.   It is simple:   â€Å"An old man and a young girl were walking together,† he writes to begin â€Å"Immortality.†Ã‚   He ends that story almost the same way he begins â€Å"The Man Who Did Not Smile†Ã¢â‚¬â€with the picture of the sky. The color at evening began to drift onto the small saplings behind the great trees.   The sky beyond turned a faint red where the ocean sounded.   (p. 326). â€Å"The Man Who Did Not Smile,† on the other hand, begins with the image of the sky as well.   â€Å"The sky had turned a deep shade; it looked like the surface of a beautiful celadon porcelain piece† (p. 128).   It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves through the inner world of the film writer. Both stories are magical.   It is the â€Å"magic of those trees† (p. 325) that captures the imagination of Shintaro and his young lover.   Those trees are part of land his family owned, and he later sold to the men who turned the land into a golfer’s driving range.   The trees are on land overseeing the ocean where the girl jumped to her death.   Trees are sacred and magical in many mythologies.   Buddha gained enlightenment under the Bodhi Tree, and many myths use trees as the focus for rebirth (Anderson, 1990, p. 25).   In the same regard, the ocean, too, is a mythical place:   from where gods and goddess reside and in the Greek legend Odysseus sailed before being reuniting with his lover (Anderson, p. 25). The magic of â€Å"The Man Who Did Not Smile† comes in the healing properties of the masks.   It is through the image of the mask that the film writer is able to create an ending for his story—a â€Å"beautiful daydream† (p. 128) to conclude the â€Å"dark story† (p. 129).   The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them.   The masks magically hide what is true and meant to be revealed—whether it is an â€Å"ugly demon† (p. 132) or an â€Å"ever-smiling gentle face† (p. 132). What is also interesting about â€Å"The Man Who Did Not Smile† is in how the film writer’s screenplay is based on a scene inside a mental hospital.   We learn later that his wife is in a hospital of sorts—and we never learn the exact nature of her illness.   Could it be a mental hospital?   And might her hospitalization also be a reflection of his â€Å"gloomy† personality (p. 129)?   He’s afraid of what is hiding behind the masks—so much that his initial reaction to putting on the mask himself is fear.   â€Å"The mask is no good.   Art is no good† (p. 132).   Masks and art each reveal the hidden dimensions.   The film writer himself uses his films to balance his own â€Å"gloomy† personality.   Yet the shadows of life are revealed through film and art, and are experienced in hospitals.   Each is an aspect of â€Å"The Man Who Did Not Smile.† Yasunari gives much to think about regarding our relationship to each other and ourselves in â€Å"The Man Who Did Not Smile,† and to our relationship with the magic of eternal love in â€Å"Immortality.†Ã‚   Both reveal the hidden aspects of our existence on earth, offering us a short look at the feeling of living in a world of melancholy and loneliness amid what we call beauty.   Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunari’s works can be realized. Bibliography Anderson, William.   (1990).   Green man:   The archetype of our oneness with the earth. London:   HarperCollins. Hillman, James.   (1996).   The soul’s code.   New York:   Warner Books. Jung, C. G.   (1983). Definitions.   (R. F. C. Hull,Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 97-105).   Princeton:   Princeton University Press.   (Original work published 1921). Jung, C. G.   (1983). The relations between the ego and the unconscious.   (R. F. C. Hull, Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 94-97).   Princeton:   Princeton University Press.   (Original work published 1929). Ljukkonen, Petri.   (2005).   Yasunari Yasunari.   Retrieved November 19, 2005 from http://www.kirjasto.sci.fi/Yasunari.htm. Yasunari, Yasunari.   (1990).   The man who did not smile.   (L. Dunlop, Trans.).   In Palm-of-the-hand Stories.   (J. Martin Holman, Trans.).   (Pp. 128-132).   San Francisco:   North Point Press.   (Original work published 1929). Yasunari, Yasunari.   (2005).   Immortality.   In (G. Dasgupta, J. Mei, Ed).   Stories about us.   (Pp. 323-325).   Nashville:   Thomas Nelson Publishers.   (Original work published 1963).

Slavery and the Constitution Essay Example | Topics and Well Written Essays - 500 words - 1

Slavery and the Constitution - Essay Example Thomas Jefferson, a former president of the United States did not support slavery. He considered slavery as a breach of the laws of the nature (Beamount 4). Jefferson had taken actions that he thought would end servitude and slavery. One of his moves was the drafting of the law in Virginia in the 1700s. These laws forbid the transportation of African slaves. He started plan for slower redemption of slaves by indicated that after certain period they would go free. However, regardless of his labors Jefferson found himself retaining slaves. He was not successful and died before implementing his decisions. President Lincoln was another person who advocated for the elimination of slavery. During the civil war, Lincoln issued a liberation proclamation. This order advocated for the release of many slaves that were subjected to the acts of slavery and servitude. Other people such as the spiritual leaders were in opposition to slavery (Finkelman 18). They found that the act were against their sacred teachings. They thus made moves that helped to end slavery. Most people in the south, especially owners of plantations wanted the prolongation of slavery because they benefited from the labor that the slaves offered. Even the white southerners who did not own plantations felt that the abolition of slavery would have led to decline of their economy. The southerners had commenced to incorporate slavery and assumed that they had the right to own slaves. Most southerners thought that slavery plus servitude should proceed. The criticisms of slavery by people who were against it led to a need of constitution amendment. Various leaders including President Lincoln had pressed for the changes of the constitution. Religious leaders also contributed by preaching the negatives of slavery. They advocated for immediate changes of the constitution to end the sufferings that slaves went through

O Essay Example | Topics and Well Written Essays - 500 words

O - Essay Example Different countries have jail criminals on less complex possession of illegal drugs such as marijuana, when found guilty, these offenders are given harsh punishment and jail sentences (Sandro 45). In the last 30 years, there have been international rise in the criminalization of improper use of drugs. Criminalization has led to the rise on the application of disciplinary authorizations executed on illegal drug offenders; in addition there have been an increase in the rates of imprisonment. However, it is vital to note that these policies have had a limited effect in reducing and controlling the abuse of illegal drugs in the streets. In the recent years, the have been some advancement on the fact that another effective approach needs to be implemented in order to combat the use of illegal drugs, addiction of these drugs has come out to be a health problem that needs treatment, medical intervention and counseling instead of imprisonment. In the United States, the population in the prisons has amplified from 300,000 to 2.3 million inmates in the last four decades. Among these inmates, only one in 3 adults in the United States prisons in on the system of parole or probation. This has proved to be expensive as the government at present expends more than 68 billion dollars annually on the prison sector. Therefore, jailing of offenders on use of illegal drugs is one of the main of the mass imprisonment in the United States prisons. There are also substantial signs that drug execution has averted resources from law application of violent offenses and other dangers to public well-being (Sandro 44). Drug offenders who show no previous history of drug abuse or any type of violence and no prior arrests usually face compulsory minimum sentences in excess of 25 years behind bars. A high total of drug low level offenders who have been found guilty end up receiving harsh sentences such as life imprisonment without the option of parole, this is due to the