Compare and Contrast Two Views of Gay Marriage Essay

William Bennett, editor of The Book of Virtues and co-director of Empower America, responded to an article that Andrew Sullivan had written supporting gay marriage in America. Bennett started out by first issuing two key points as to what divides the proponents and opponents of same-sex marriages. The two articles are derived from Sibylle Gruber’s Constructing Others: Constructing Ourselves edition. Bennett notions that legalizing same-sex marriage would weaken the meaning of it and outlines what the basic concept of marriage is. Throughout the article Bennett argues why same-sex marriage should not be legalized by moving from religion to the traditional concept of marriage between men and women, which he claims has a†¦show more content†¦Responding to Sullivan’s article, William Bennett argues, â€Å"Marriage is based on natural teleology, on the different, complementary nature of men and women and how they refine, support, encourage and complete one anot her† (27). The battle of marriage between gay couples is one of the most intense and relentless arguments in today’s society. Sullivan tries to express his ideas on how same-sex marriage is only the righteous thing to do for all gay men and women in America by establishing a sense of equality among U.S. citizens. Bennett responds by arguing that if same-sex marriage is allowed throughout the U.S., it would deter the meaning of marriage and the youth of our nation. Throughout the debate between the two individuals, Bennett painstakingly implies that Sullivan has a loose argument that is full of holes. Sullivan’s article is full of sexual biases, which defends his own purpose for writing the article (27-29). As Bennett established his reason for opposing gay marriage, President Bush also seems to believe the same reasons. Bush’s support for an amendment proposed to banning gay marriage is not taken lightly to individuals, such as when Dean E. Murphy writes that Mayor Gavin Newsom recalled Mr. Bush’s remarks againstShow MoreRelatedEssay on Compare and Contrast Two Views of Gay Marriage601 Words   |  3 Pagestoday is gay marriages. Many believe that the media is primly responsible for the idea of same-sex marriages, but when it all comes down to it there are really only two sides; those who support gay marriages, and those who oppose them. Two authors write their opinions on their opposite views on this issue. Sullivan (2002) supports same-sex marriages and believes marriage to be a universal right, not just restricted to heterosexuals. Contrary to Sullivan, Bennett (2002) believes that marriage is aRead MoreGay Marriage1041 Words   |  5 Pagesï » ¿Eri n Krogstad Compare-Contrast Synthesis 10/11/2013 English 111x Gay Marriage Gay marriage is a topic that is heavily debated in this day and age. Whether or not it should be legal for homosexuals to get married is a theme that authors Andrew Sullivan, who wrote â€Å"For Gay Marriage† and William J. Bennett, who wrote â€Å"Against Gay Marriage† use in there articles. The main points the authors both discus is the meaning of marriage itself, the social impact same sex marriage will have on societyRead MoreGay Marriage1711 Words   |  7 PagesRWS 305 T 4PM Professor Voth October 13, 2009 Gay Marriage Begins With Separation Our country was built on the foundation of separation between church and state. But has the concrete wall of separation begun to deteriorate? Or was it ever really there at all? As we continuously battle over the rights to same sex marriage, the question of church or state surfaces. It is due time that we examine this matter and decide once and for all if the church should have any opinion in theRead MoreDifferences Between Same Sex Marriages Essay2574 Words   |  11 Pagesalready slim, the possibilities of he/she being your marriage partner is slimmer, why make it any harder, by not letting the couple enjoy the experience of planning and getting married, just because they are of the same gender. This bibliography will have a compare and contrast between same sex marriages. As well different opinions that are found online of said subject. For example, why we should or shouldn’t have same sex marriages, compare and contrast, I as well will be supporting my opinion in theRead MoreSame Sex Marriage Should Be Legal Essay2606 Words   |  11 PagesSex Marriage The possibilities of finding your soulmate is already slim, the possibilities of he/she being your marriage partner is slimmer, why make it any harder, by not letting the couple enjoy the experience of planning and getting married, just because they are of the same gender. This bibliography will have a compare and contrast between same sex marriages. As well different opinions that are found online of said subject. For example, why we should or shouldn’t have same sex marriages, compareRead MoreAn American Childhood By Annie Dillard1392 Words   |  6 PagesCompare and Contrast Over the years, the issue of family values has evolved from the conservative view of distinct gender roles to the prevailing situation where men and women have equal rights. The most notable change from the traditional to the modern values of the family has been the issue of gay marriages. Whereas it was a taboo for gay couples to declare their relationship status openly in public, today the situation is different as is evident with the two texts under discussions. The storyRead MoreSocial, Political, And Economic Institutions During The Civil Rights Movement1237 Words   |  5 Pagesequality. 2. Compare and contrast a current global civil rights issue to the American Civil Rights Movement 1954-1965. Just like African Americans, lesbian, gay, bisexual, and transgender (LGBT) also put up a fight for rights of equality and freedom of expression and association. According to the LGBT, their strategy is not only fighting for their own beliefs on gay marriage and persuading judges and government officials, but also trying to effectively change the way society thinks and views these rightsRead MoreThe Aspect Of Religious Expression Essay1534 Words   |  7 Pages The aspect of religious expression that I have chosen is Gay marriage. Gay marriage or same-sex marriage was passed by the house of representatives in new zealand on 19th August 2013. With the world slowly adjusting to the views of same-sex marriage NZ joined as the 13th country to recognise and support it as a legal civil union. Civil union is the recognition of two people being in a union as a legal status without religious input. Despite New Zealand being a predominantly secular society i willRead MoreHeterosexual And Homosexuality Marriage. Marriage Is Considering1449 Words   |  6 PagesHeterosexual and homosexuality marriage Marriage is considering to be several distinct aspects of life: friendship and companion ship, sexual relations, love, conversation, procreation and child-rearing, and mutual responsibility. Making compromises and putting someone else first rather than yourself. My view on the purpose of marriage is being able to wake up to your best friend every day, being able to buy your first home together, plan for children, plan your future together as one and to be happyRead MoreAnalysis Of Andrew Sullivan s Article Why Gay Marriage Is Good For Straight America 1621 Words   |  7 Pagesarticle â€Å"Why Gay Marriage is Good for Straight America.† He is an experienced publicist, and he is homosexual. Sullivan argues that every person has the right to get married disregarding his or her orientation. Richard Rodriguez who is also a famous publicist composed â€Å"Family Values.† Like Sullivan, he is homosexual and he discusses it in his work. Rodriguez and Sullivan share many vie wpoints related to homosexuality, but they disagree about the appropriateness of homosexual marriage – Sullivan is

Sammy will definitely feel this event all his life Free Essays

The basic plot of John Updike’s A P is that Sammy clerks in a grocery store.   Stokesie is a young man who also works at the store, but he is there to support his family. We will write a custom essay sample on Sammy will definitely feel this event all his life or any similar topic only for you Order Now There are some bold girls that come into the store and are frowned upon by the management.   The girls are dressed in beach attire and when Lengel (the manager) refuses to serve them, Sammy quits his job.   Lengel warns him â€Å"You’ll feel this for the rest of your life,† (Updike) and Sammy agrees. Sammy will definitely feel this event all his life.   By quitting his job, he is rejecting Lengel and his middle-class, uptight attitude.  Ã‚   In Sammy’s mind, the girls should be able to come in dressed in beach ware and not be judged.   Frivolous behavior should be tolerated and not frowned upon.  Ã‚   If they are dressed to scantily and cause people to look at them, that’s okay.   They’re young.   If men look at them, that is okay too.   It’s okay to look at pretty girls without feeling guilty. Sammy really grows up throughout the course of the story.   As Sammy walks away from the store he realizes â€Å"how hard the world was going to be to me hereafter† (Updike).   Sammy realizes that much of the world is filled with people who think like Lengel, and that he will be the one to buck the system.   He is not willing to go along with the status quo, and that will make his life difficult. The Lengels of the world are just too narrow to simply enjoy watching a pretty girl.   Sammy will be able to enjoy those simple pleasures without condemning them. In rejecting Lengel’s values, he is also rejecting the values of his family or his circle of society.   He decides that he wants more in life than vying for a manager position in an A P.   He refers to the shoppers as â€Å"sheep† and decides that he does not want to be a sheep. The girls in their swimsuits simply help bring about that epiphany.   Sammy has really won according to his own values, but in the minds of many others, he has lost.   Everyone will know that he quit.   His parents will most likely be disappointed and might think his reasons frivolous.   It is only the beginning of bucking the system for Sammy. Works Cited Updike, John.   A P. How to cite Sammy will definitely feel this event all his life, Papers

Essay Money Matters free essay sample

Dave Ramsey says that people spend 18% more because spending cash â€Å"hurts† I disagree I think that I would spend the same amount with a credit card as long as I had the money to pay it off at the end of the month. One reason that I feel like it is a better Idea to carry a credit card is because if you get robbed and you are carrying a lot of money you can’t get that back most likely but if you have a credit card you can cancel the card before they spend in any money in your name. Another reason, this may only be me (I doubt it) is that when you spend cash at a store you get change back in the form of coins which never get used and are a pain to walk around with sometimes also if you do decide to take back your coins to a â€Å"coin star† machine you can lose up to 25% of your money just putting the coins back to cash, the reason some people do this is because not all banks will take the coins from you in turn it to cash. We will write a custom essay sample on Essay Money Matters or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Another reason is the pure simplicity of it and the time it can save you during a day where you are paid hourly, an example of this is what if it takes you an extra two minutes because you are digging through your wallet or purse getting the exact amount of money to pay on your meal or whatever if you make $30 an hour and it takes you an extra 2 minutes a day over the day to pay with cash in the morning and for lunch that is $2 a day you are losing from not clocking in 2 minutes before. Dave tried to play off the rewards of using a credit card as nothing however it isn’t anything some credit card companies offer Amazon points or airline miles which can be redeemed. As long as you keep up with your payments there are no financial detriments to you. So these are my opinions they may not be true for everyone but for me at least there is no reason not to use a credit card in my eyes.

Royal Caribbean Cruises Limited Made Efforts to Adapt to the Paradigm Shift of Information Technology and Its Function Within the Ever-Growing Cruise Line Industry free essay sample

Royal Caribbean Cruises Limited made efforts to adapt to the paradigm shift of Information Technology and its function within the ever-growing cruise line industry Jesse Brothers Abstract Royal Caribbean Cruises Limited (RCCL) was founded in 1969. They currently operate under the brands of Royal Caribbean International, Celebrity Cruises and Pullmantor. Predominantly known as the second largest cruise ship company behind Carnival Cruises, RCCL still has a firm hold on cruise ship market share. According to their website, RoyalCaribbean. com, RCCL brought in net revenues of over $607 million in 2011, which is up from $515 and $152 million in 2010 and 2009, respectively. They used their fleet consisting of 39 ships to make approximately 92,000 berths last year†¦ but things were not always looking so optimistic for Royal Caribbean Cruises Limited. Problem Statement Things were looking up for RCCL and their hiring of high level IT personnel have led to advancements in the company’s IT infrastructure and future technology endeavors. We will write a custom essay sample on Royal Caribbean Cruises Limited Made Efforts to Adapt to the Paradigm Shift of Information Technology and Its Function Within the Ever-Growing Cruise Line Industry or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page But ultimately, the company had three strategic goals of (1) Enhancing Guest Experience (2) Reduce Costs and (3) Increase Revenues to try to set themselves apart within the cruise industry as they tried to make the leap into the â€Å"digital† age. But given the events of 9/11 and its impact on the industry, how would RCCL optimize its IT spending especially if it is still working on an â€Å"analog† budget? Background Dating back to the 90’s, RCCL has always been the proverbial second fiddle to Carnival Cruises. RCCL’s Chairman and CEO, Richard Fain, noticed that the primary reason for Carnival’s success was their ability to drive down marginal costs per ship by â€Å"standardizing its fleets down to details as small as bedspreads and barstools† (McFarland, 2003). However, it was important to Fain for each RCCL ship to have its own identity. So, the problem in front of the long time CEO and Chairman was high would RCCL take steps toward a bigger market share without compromising its differentiation between Carnival and other cruise ship organizations. For Fain, the answer would be to move RCCL into the digital age. So in April of 1999, Fain brought in a new CIO named Thomas Murphy to lead the paradigm shift. Murphy, with a IT background in the hospitality industry, immediately made an impact as people titles were changed and some positions were even eliminated in an attempt to change the overall outlook of RCCL’s staff, both high and low level, had toward its own IT department. Murphy was once quoted saying, â€Å"there was a huge disconnect in their thinking, a gap that had kept IT and the business apart† (Hughes, 2001). Murphy’s first projects were implemented and received well both by customers and by RCCL’s employees. The first major change was to hire IMB Business Services as a consultant to link together RCCL’s shore-side and on-board technology systems. The second major change was the improvements made were to the previously mentioned shore excursion program and the switch from diesel to gas engines. At this point, the buy-in from the board and staff for the new and improved IT department was completely formulated. The next big project for Murphy and his department was called â€Å"Leapfrog†. This was supposed to be what helps RCCL move into the number one spot for cruise line industry market share. Leapfrog consisted of 3 main IT projects: 1) Supply Chain – automate and simplify the shore-side purchasing and procuring processes 2) Human Resource – automate employee tracking software to help with training and knowledge management 3) Customer Service Upgrade – create a new and improved reservation tool for customers to synchronize all reservation systems for the company and to help sales and marketing utilize the data being collected Leapfrog was set to be a $200 million project that also helped make it affordable to launch 4 new ships and hire 20k more employees. The entire IT infrastructure was going to be revamped, including more servers, new networks and other IT service components. Sink or Swim: the fallout from 9/11 attacks The old adage goes, â€Å"you have to spend money to make money†. Well, after the 9/11 terrorist attacks, RCCL executives knew that making money was going to be a lot more difficult. They lost 50% of their 4th quarter bookings within a week of those attacks and Q1 of 2002 was starting to look bleak as well. Fain quickly gathered his executive team and made a decision that ultimately would affect the company’s future financials for several years. He concluded that there were three avenues that RCCL could possibly go toward now. â€Å"The first option was to slow down and cut 25% off some projects: the second one consisted of shelving some of them[projects] completely, reducing overall costs by 50%; while the third was to shelve the whole thing except for a small part of the supply chain†¦ Fain decided to go for the third option† (McFarlan, 2003) Over the next few weeks, hundreds of employees were laid off and Murphy saw his annual budget cut in half. He knew that the only way to stay afloat was to start thinking smaller. He called the next methodology RCCL would adapt, â€Å"micro-strategy† which he defined as â€Å"the stepping stone strategies needed to be nimble and adaptable within the context of preserving long-term goals† (Hughes, 2002). So for the next year and a half, Murphy spent any monies his department had on shoring the core infrastructure of RCCL, most notably: Network services, Email services and other utilities that people always expect to work when needed. Utilizing these core small strategies, Murphy was able to keep RCCL IT department afloat through 2004, his final year at the company. IT Makeup and Infrastructure Vision Statement Corporate Strategy: The Solution RCCL has three main goals that incorporate its main strategy as it prepares to enter the digital age of the 21st century. The first and foremost being to enhance the guest experience which of course fits in perfectly with the company’s vision statement. An example of this focus is the â€Å"Silverwhere† program, which is not just a clever name but is a software program that links together people of common interests at dinner in hopes of making their dinner and ultimately, vacation, more enjoyable. The ships have also incorporated Internet Cafes that are being put to good use by the customers who want to stay connected while at sea. One final way to enhance the guest experience while on a cruise is the automated disembarkation process or also known as the debark card. The card saves the customer the headache of trying to leave the ship and having to having to fill the necessary paperwork on the same day. According to the case, â€Å"the debark card captured the information required by the INS and was printed the night before debarkation and delivered to each guests’ room (McFarlan, 2003). The second corporate strategy is to of course, reduce costs. One of the most critical functions for a successful cruise company is to have a successful supply chain management structure in place. â€Å"A cruise ship as a floating city posed exceptionally complex supply-chain issues as a result of several factors: most notably, Variety, Logistics and Connectivity† (McFarlan, 2003). Variety is a critical factor because the ship has two key yet differing functions, which are hotel supply and technical supply. Logistics from simply having the aforementioned â€Å"floating city† aspect which made errors almost impossible to correct once the ships left port. Connectivity was also an issue back in the early 2000’s as the satellite positions could dictate whether guests and crew were able to access the Internet. Most cruises have multiple excursions planned throughout its duration. The online excursion booking allows the customer to book the excursions online at their convenience. This not only helps save the customer time but it also allows them to spend more time in the ship. This usually helps bring in more revenue as well. Speaking of revenue, that is the third and final main goal of the RCCL executive staff. As previously mentioned, RCCL provided Internet Cafes that charged $. 50 per minute for guests and $. 10 per minute for crew. Lastly, RCCL decided to make the change from diesel engines to gas engines. Although the fuel costs were higher now, they were more than offset by the extra combine space created. Plus, customers found the cruises to be more enjoyable with the reduced engine noise. These advancements would not have been possible without first bringing the right personnel to have vision and knowledge to implement such technical programs as the online shore excursions and updates to the website. These personnel have to have the intuitiveness to not only be creative with new ideas but also make sure said ideas are in line with the corporate goals of RCCL. Though the technology had not yet been developed, the ultimate goal was to have â€Å"each ship is a fully redundant system, where an authorized user could access data anytime, anywhere† (McFarlan, 2003). Moving forward to present day, once the available technology was literally feasible, Murphy’s dream would come true even if he was not there to see it come to fruition. RCCL’s ships would be streamlined and be more efficient. They would be self-troubleshooting and centralized. Fleets would have full communication with the shore-side infrastructure and give the ability to drive down costs while remaining efficient. The graph below shows the increases in total fleet. Then, there is a graph showing the capital expenditures for RCCL going back to before Thomas Murphy was hired as CIO in 1999.

6 Tips to Liven Up Your Lectures

6 Tips to Liven Up Your Lectures Many graduate students find themselves at the head of the classroom, first as teaching assistants and later as instructors. However, graduate study often doesn’t teach students how to teach, and not all grad student instructors first serve as TAs. Instead, most graduate students find themselves instructing a college class with little to no teaching experience. When faced with the challenge of teaching despite little experience, most grad students turn to the techniques they have experienced as students. The lecture method is a common teaching tool. A poor lecture is painful for both students and the instructor. Lecturing is a traditional method of instruction, perhaps the oldest form of instruction. It has its detractors who argue that it is a passive means of education. However, the lecture is not always passive. A good lecture is not simply a list of facts or a reading of the textbook. An effective lecture is the result of planning and making a series of choices - and it need not be boring. 1.  Dont Cover It All Exert restraint in planning each class session. You will not be able to cover all of the material in the text and assigned readings. Accept that. Base your lecture on the most important material in the reading assignment, a topic from the reading that students are likely to find difficult, or material that doesnt appear in the text. Explain to students that you wont repeat much of the material in the assigned readings, and their job is to read carefully and critically, identifying and bringing questions about the readings to class. 2.  Make Choices Your lecture should present no more than three or four major issues, with time for examples and questions. Anything more than a few points and your students will be overwhelmed. Determine the critical message of your lecture and then remove the adornments. Present the bare bones in a succinct story. Students will absorb the salient points easily if they are few in number, clear, and coupled with examples. 3.  Present in Small Chunks Break up your lectures so that they are presented in 20-minute chunks. Whats wrong with a 1- or 2-hour lecture? Research shows that students remember the first and the last ten minutes of lectures, but little of the intervening time. Undergraduate students have a limited attention span - so take advantage of it to structure your class. Switch gears after each 20-minute mini-lecture and do something different. For example, pose a discussion question, a short in-class writing assignment, a small group discussion, or problem-solving activity. 4.  Encourage Active Processing Learning is a constructive process. Students must think about the material, make connections, relate new knowledge to what is already known, and apply knowledge to new situations. Only by working with information do we learn it. Effective instructors use active learning techniques in the classroom. Active learning is a student-centered instruction that forces students to manipulate the material to solve problems, answer questions, examine cases, discuss, explain, debate, brainstorm, and formulate questions of their own. Students tend to prefer active learning techniques because they are engaging and fun. 5.  Pose Reflective Questions The simplest way of using active learning techniques in the classroom is to ask reflective questions. These are not yes or no questions, but those that require students to think. For example, â€Å"What would you do in this particular situation? How would you approach solving this problem?† Reflective questions are difficult and will require time to think, so be prepared to wait for an answer. Endure the silence. 6.  Get Them Writing Rather than simply pose a discussion question, ask students to write about the question first for three to five minutes, then solicit their responses. The benefit of asking students to consider the question in writing is that they will have time to think through their response and feel more comfortable discussing their views without fear of forgetting their point. Asking students to work with the course content and determine how it fits with their experiences enables them to learn in their own way, making the material personally meaningful, which is at the heart of active learning. In addition to the educational  benefits, breaking up a lecture and interspersing it with discussion and active learning takes the pressure off of you as the instructor. An hour and 15 minutes, or even 50 minutes, is a long time to talk. Its also a long time to listen.  Try these techniques and vary your strategies to make it easier on everyone and increase your likelihood of success in the classroom.

The History of WWI Hospital Ship, the HMHS Britannic

The History of WWI Hospital Ship, the HMHS Britannic In the early 20th century an intense competition existed between British and German shipping companies which saw them battle to build larger and faster ocean liners for use in the Atlantic. The key players including Cunard and White Star from Britain and HAPAG and Norddeutscher Lloyd from Germany. By 1907, White Star had given up the pursuit of the speed title, known as the Blue Riband, to Cunard and began focusing on constructing larger and more luxurious ships. Led by J. Bruce Ismay, White Star approached William J. Pirrie, head of Harland Wolff, and ordered three massive liners which were dubbed the Olympic-class. These were designed by Thomas Andrews and Alexander Carlisle and incorporated the latest technologies. The first two ships of the class, RMS Olympic and RMS Titanic, were laid down in 1908 and 1909 respectively and were built in neighboring shipways in Belfast, Ireland. Following the completion of Olympic and launching of Titanic in 1911, work began on the third vessel, Britannic. This ship was laid down on November 30, 1911. As work moved forward in Belfast, the first two ships proved star-crossed. While Olympic was involved in a collision with the destroyer HMS Hawke in 1911, Titanic, foolishly dubbed unsinkable, sank with a loss of 1,517 on April 15, 1912. Titanics sinking led to dramatic changes in Britannics design and to Olympic returning to the yard for alterations. Design Powered by twenty-nine coal-fired boilers driving three propellers, Britannic possessed a similar profile to its earlier sisters and mounted four large funnels. Three of these were functional, while the fourth was a dummy which served to provide extra ventilation to the ship. Britannic was intended to carry around 3,200 crew and passengers in three different classes. For first class, luxurious accommodations were available along with lavish public spaces. While the second class spaces were quite good, Britannics third class was considered more comfortable than its two predecessors. Assessing the Titanic disaster, it was decided to give Britannic a double hull along with its engine and boiler spaces. This widened the ship by two feet and necessitated the installation of a larger 18,000-horsepower turbine engine in order to maintain its service speed of twenty-one knots. In addition, six of Britannics fifteen watertight bulkheads were raised to B deck to aid in containing flooding if the hull was breached. As a lack of lifeboats had famously contributed to the high loss of life aboard Titanic, Britannic was fitted with additional lifeboats and massive sets of davits. These special davits were capable of reaching lifeboats on both sides of the ship to ensure that all could be launched even if it developed a severe list. Though an effective design, some were blocked from reaching the opposite side of the ship due to the funnels. War Arrives Launched on February 26, 1914, Britannic began fitting out for service in the Atlantic. In August 1914, with work progressing, World War I began in Europe. Due to the need to produce ships for the war effort, materials were diverted from civilian projects. As a result, work on Britannic slowed. By May 1915, the same month as the loss of Lusitania, the new liner began testing its engines. With the war stagnating on the Western Front, the Allied leadership began looking to expand the conflict to the Mediterranean. Efforts to this end began in April 1915, when British troops opened the Gallipoli Campaign at the Dardanelles. To support the campaign, the Royal Navy began requisitioning liners, such as RMS Mauritania and RMS Aquitania, for use as troopships in June. Hospital Ship As casualties at Gallipoli began to mount, the Royal Navy recognized the need to convert several liners to hospital ships. These could act as medical facilities near the battlefield and could transport the more severely wounded back to Britain. In August 1915, Aquitania was converted with its troop transport duties passing to Olympic. On November 15, Britannic was requisitioned to serve as a hospital ship. As suitable facilities were constructed on board, the ship was repainted white with a green stripe and large red crosses. Commissioned at Liverpool on December 12, command of the vessel was given to Captain Charles A. Bartlett. As a hospital ship, Britannic possessed 2,034 berths and 1,035 cots for casualties. To aid the wounded, a medical staff of 52 officers, 101 nurses, and 336 orderlies was embarked. This was supported by a ships crew of 675. Departing Liverpool on December 23, Britannic coaled at Naples, Italy before reaching its new base at Mudros, Lemnos. There around 3,300 casualties were brought on board. Departing, Britannic made port at Southampton on January 9, 1916. After conducting two more voyages to the Mediterranean, Britannic returned to Belfast and was released from war service on June 6. Shortly thereafter, Harland Wolff began converting the ship back into a passenger liner. This was halted in August when the Admiralty recalled Britannic and dispatched it back to Mudros. Carrying members of the Voluntary Aid Detachment, it arrived on October 3. The Loss of the Britannic Returning to Southampton on October 11, Britannic soon departed for another run to Mudros. This fifth voyage saw it return to Britain with around 3,000 wounded. Sailing on November 12 with no passengers, Britannic reached Naples after a five-day run. Briefly detained in Naples due to bad weather, Bartlett took Britannic to sea on the 19th. Entering the Kea Channel on November 21, Britannic was rocked by a large explosion at 8:12 AM which struck the starboard side. It is believed that this was caused by a mine laid by U-73. As the ship began to sink by the bow, Bartlett initiated damage control procedures. Though Britannic had been designed to survive taking heavy damage, the failure of some watertight doors to close due to damage and malfunction ultimately doomed the vessel. This was aided by the fact that many of the lower deck portholes were open in an effort to ventilate the hospital wards. In an effort to save the ship, Bartlett turned to starboard in the hope of beaching Britannic on Kea, approximately three miles away. Seeing that the ship would not make it, he ordered abandon ship at 8:35 AM. As the crew and medical staff took to the lifeboats, they were aided by local fishermen and, later, the arrival of several British warships. Rolling on its starboard side, Britannic slipped beneath the waves. Due to the shallowness of the water, its bow hit the bottom while the stern was still exposed. Bending with the weight of the ship, the bow crumpled and the ship vanished at 9:07 AM. Despite taking similar damage as Titanic, Britannic only managed to remain afloat for fifty-five minutes, approximately one-third the time of its older sister. Conversely, losses from the sinking of Britannic numbered only thirty while 1,036 were rescued. One of those rescued was nurse Violet Jessop. A stewardess before the war, she survived the Olympic-Hawke collision as well as the sinking of Titanic. HMHS Britannic at a Glance Nation:  Great BritainType:  Hospital ShipShipyard:  Harland Wolff (Belfast, Northern Ireland)Laid Down:  November 30, 1911Launched:  February 26, 1914Fate:  Sunk by mine on November 21, 1916 HMHS Britannic  Specifications Displacement:  53,000 tonsLength:  882 ft., 9 in.Beam:  94 ft.Draft:  34 ft. 7 in.Speed:  23 knotsComplement:  675 men Sources WebTitanic: HMHS BritannicHMHS BritannicLost Liners: HMHS Britannic

Writing argument Vandana Shiva's the soil vs The Sensex Essay

Writing argument Vandana Shiva's the soil vs The Sensex - Essay Example heavily dependent on the agricultural goods and services of India and if the agricultural produce of India continues to decline then the food security of United States is under immense threat. These two issues are of immense concern because these issues affect our health and wellbeing in a negative manner. The issue of global warming can lead to food crises and malnutrition. Due to global warming some regions may experience decrease in rainfall and due to this various agricultural lands may not be able to attain enough rain to produce agricultural products such as grains and rice that are essential for the survival of human beings. Similar is that case with degradation of soil (Epa.gov, 2015). Degradation of soil can result in the decrease of agricultural products that are essential for the life for every human being in every community. Kristof states that global warming is causing changes in the weather and due to this various crop failures have been caused (Kristof, 2012). Shiva st ates that due to neglect of soil the soil is losing its fertility and this has led to decrease the production of important parts of diet including mangoes (Shiva, 2010). 2. In the essay titled as Soil vs. Sensex, the author Vandana Shiva has made a claim that the earth which is and which has always provided India and its citizens with the essentials of life is being ignored and more importance is being given to the industrial sector of India. The author does not make a general statement but uses proper reasoning along with evidence to prove the point the earth and the poor farmers along with the natural gifts are being neglected even though these elements are sacred to the people of India. She states that people and especially the rich in India is considering Sensex (stock exchange of Mumbai) to be more sacred than the earth. To prove her point that the earth is being neglected she states that 200,000 farmers have already committed suicide and their homes and livelihood are being

A Study on Martin Luther King Essay Example | Topics and Well Written Essays - 2000 words

A Study on Martin Luther King - Essay Example Martin Luther King combined leadership, activism and clerical duties in his life time. He had a pivotal role in the civil rights progress, in United States, and globally. He advanced his civil rights crusade through nonviolence as mentored by Mohandas Gandhi. Martin Luther King is a national icon in modern American history because of his leadership style, policy and strategic thinking. In his activities, he advanced principles of strategy. His historical significance goes beyond his civil rights crusade or clerical work. He represented black leadership absent at the time in America. During this period, black leaders whether accommodative or reformists had minimum influence on power. These black leaders acted as power brokers for the white leaders or as spokesmen; they never expressed or acted on their own. However, Martin Luther King had his leadership rested on religious establishments that went beyond the church to a constituency that tagged him because of his strategy and ideology . He differed from the times, conventional leaders because of his independence from political machinery and institutional constraints. He addressed broader issues than race and the racial injustices (Barber, 2011, p. 52). Martin Luther King exemplified talented and strategic thinking, and leadership on both a national and international scale. In all his actions, he carefully advanced his strategic principles, and they all paid off. Growing Up and Early Influence Martin Luther King, born on 15th January 1929, grew up in Atlanta Georgia. The son of Martin Luther King Sr. and Alberta Williams King, he had a younger brother and an elder sister. King devoted much of his time in the church choir, where he sang with the choir during the opening of the movie Gone with the Wind. During his early age, king had intelligence and the will to question. He did not believe in things easily without getting all the information required to make a conclusion (Kavaloski, & Kavaloski, 2011, p. 25). Most striking was his skepticism of the resurrection of Jesus at the age of 13. He afterwards noted the inescapable truths in the Bible. This led him to join the seminary at a tender age. He attended Booker T Washington High School, but as a precocious student, he jumped ninth and twelfth grade. He joined the Morehouse College where he graduated with a Degree in sociology. During his seminarian years, King’s educator and theologian Howard Thurman immensely influenced his life. Thurman crucially mentored him as seen by their closeness. The success of Mahatma Gandhi nonviolent resistance inspired King to nonviolence in the movement. He had a commitment to the American civil rights struggle. The oppression that the minority faced played a significant role as well in influencing his thinking. The rich and wealthy had all the powers to do anything they wanted while oppressing the poor. King observed that using nonviolence offered him a strategy to push for the oppressed human dignity a nd justice, and also fight for their civil rights (Barber, 2011, p. 53). King’s society was plagued by racial discrimination, segregation and poverty. He disliked the society’s social state and decided to fight for their justice. The society’s inequality also pushed him to study sociology and theology because he wanted to help socially (Carson, 2005, p. 8). Achievements, Challenges and Great Moments In his lifetime, Martin Luther King had many achievements. He secured the progress of civil rights in U.S, and before his assassination the U.S Congress passed the

Communication and Proffesional Relationships Essay Example for Free

Communication and Proffesional Relationships Essay 1 Information from supporting teaching learning n schools by Louise Burnham To establish respectful, professional relationships with children and young people you should adapt your behaviour and communication accordingly. You should also be able to show that you are approachable and able to work in an environment of mutual support. When working with children or young people, it is important to earn their trust to enable an honest relationship to develop. This can usually be done by ensuring that your behaviour is professional, relationship and fair at all times. Children of all ages, cultures and abilities must feel secure and valued. In order to get these relationships correct from the start you should all discuss rules and how they will be important when working together. Always respect others at the beginning and remember that this is crucial, start by talking about how you are going to work together and what each individual wants out of it. This will enable that you develop a mutually respectful relationship. All of teachers / assistants need to be aware of the kinds of issues which are vital to pupils and always be able to take time in talking these through when necessary. To show children they are part of the school community you should positively communicate and involve pupils. This however is not the same as giving pupils attention when they demand it! HOW TO BEHAVE APPROPRIATELY FOR A CHILD OR YOUNG PERSON’S STAGE OF DEVELOPMENT 1.2 Information from supporting teaching learning in schools by Louise Burnham and internet. Communication with children and young people differs across different age groups and stages of development, which may require varying levels of attention at different times. The younger the child, the more reassurance is required, especially when first starting school. They also may need to have more physical contact as a result. As children become more mature, they may require more help with talking through issues and reflecting their thoughts. For example, in Key stage 1 the manner in which I communicate in is being more adapted, to come down to the child’s level of speaking and repeat what is said for them until it is clearly understood. Where as a child in key stage 3 or 4 the language is used informally and formally depending on their confidence to communicate what they think and as technology as evolved emails and text are used as a form of communication. To have patience, act sensitively and take care with children who have  communication difficulties, as they will need a lot more time to understand and comprehend what the task in hand is. Also to feel a reassurance that they don’t feel pressurized when speaking. Some children or young people may not have many opportunities to speak or may be anxious or nervous. The level of communication is adapted to the needs of the individual. For example, if they have a speech disorder, such as a stammer, which makes it difficult for them to speak aloud, then extra time should be allowed, for them to collect their thoughts. Also trying not to finish their sentences, or guess what they are trying to say, to give the child independence of their speech, to encourage self-esteem and confidence. HOW TO DEAL WITH DISAGREEMENTS BETWEEN CHILDREN AND YOUNG PEOPLE . 1.3 Disagreements between children and their peers will often happen regularly and teachers or assistants will have to deal with these situations. This can happen in the classroom but is usually in the playground or while having lunch. It is very important for pupils to know that you have listened to their view in what has happened. Always make sure you hear from all sides of the story and find out exactly what has happened from the beginning. Then you should decide whether anyone was in the wrong and if apologies are required or any further steps. For example referral to head teacher. Children and young people should also be able to understand how their own feelings may influence their behaviour and this might have to be discussed. For example saying to a child‘ I understand you are upset today because you could not do baking today’ will help them link between emotion and behaviour. This will able them to understand how to think about others. An effective way of encouraging children to understand and respect others feelings is discussing this as a whole class or making it an activity such as ‘circle time’. Circle time is very effective for older children however very young children may not be able to sit for a length of time and be able to wait for their turn before speaking out. Some schools use strategies such as the restorative justice programme. Which is taken from the criminal justice system and have worked well as a method of resolving behaviour issues.

Web 2.0 versus Pedagogy :: Technology, Voice Thread

Web 2.0 is an advance technology which many people used for communication such as blogs, social networking, entertainment and gaining of information about specific issue, events and people. It facilitates an interactive and collaborative application, user centered design and developing World Wide Web (Rad, 2007). This system is not originally intended for teaching a learning purpose but previously some educators was attracted to use this as an educational tool. (Peltier, 2009) Voice thread Integration of literacy and technology is very helpful for learners to fully understand the specific information and as well as in the side of educators that will improve their teaching strategy through adaptability of voice thread. Considering the advancement of the technologies and the knowledge of each educator and the willingness of the learners this progress will not be impossible to achieve as desired. Contributories in making the voice thread effective to the users depending on their capabilities to adapt the process of spreading information and interaction towards feedback mechanism will surely be manageable to which all queries are given that of enough attention. Voice Thread is an online tool which is not originally intended as a classroom tool but in 2008, Burden made a study in which Voice Thread can be used as an educational tool for enhancement of teaching and student learning. This kind of online application showcases a new designed learning tool that engages students to be motivated in exploring and gaining knowledge through video collaborative conversation, images, power point, and audio files. Voice Thread has the ability to securely accommodate learners not only to become readers but to become participants also. (Freyer, 2008) Voice Thread allows interaction within the user and the participants thru exchanging of comments by oral or textual. This application also allows privacy of documents being posted for which you can choose only the audiences or participants which can view your post. To attract learners to be more interested, Voice Thread also allows images or videos to be posted for a better presentation (Anderson, 2010). For better audio comments, Lofton (2008) suggested the usage of Audacity which is a free downloadable application that allows editing and volume adjustments. Another suggestion is to use a better quality microphone (Lofton, 2008). Voice Thread might pose an accessibility problem for those students with low bandwidth. In addition, viewing the application on a mobile phone can be difficult because it employs Flash to deliver content. Web 2.0 versus Pedagogy :: Technology, Voice Thread Web 2.0 is an advance technology which many people used for communication such as blogs, social networking, entertainment and gaining of information about specific issue, events and people. It facilitates an interactive and collaborative application, user centered design and developing World Wide Web (Rad, 2007). This system is not originally intended for teaching a learning purpose but previously some educators was attracted to use this as an educational tool. (Peltier, 2009) Voice thread Integration of literacy and technology is very helpful for learners to fully understand the specific information and as well as in the side of educators that will improve their teaching strategy through adaptability of voice thread. Considering the advancement of the technologies and the knowledge of each educator and the willingness of the learners this progress will not be impossible to achieve as desired. Contributories in making the voice thread effective to the users depending on their capabilities to adapt the process of spreading information and interaction towards feedback mechanism will surely be manageable to which all queries are given that of enough attention. Voice Thread is an online tool which is not originally intended as a classroom tool but in 2008, Burden made a study in which Voice Thread can be used as an educational tool for enhancement of teaching and student learning. This kind of online application showcases a new designed learning tool that engages students to be motivated in exploring and gaining knowledge through video collaborative conversation, images, power point, and audio files. Voice Thread has the ability to securely accommodate learners not only to become readers but to become participants also. (Freyer, 2008) Voice Thread allows interaction within the user and the participants thru exchanging of comments by oral or textual. This application also allows privacy of documents being posted for which you can choose only the audiences or participants which can view your post. To attract learners to be more interested, Voice Thread also allows images or videos to be posted for a better presentation (Anderson, 2010). For better audio comments, Lofton (2008) suggested the usage of Audacity which is a free downloadable application that allows editing and volume adjustments. Another suggestion is to use a better quality microphone (Lofton, 2008). Voice Thread might pose an accessibility problem for those students with low bandwidth. In addition, viewing the application on a mobile phone can be difficult because it employs Flash to deliver content.

A Reflection on Innatism: Revisiting Locke and Leibniz

Locke was clear about his philosophy- that there is no rational intuition that subjects an individual to a multitude of ideas which he he/she hasn’t encountered through experience yet. Our mind is a tabula rasa in contrast to what Descartes might have presumed to be preconditioned by some divinity or what was called as having innate ideas.Locke strongly feels that external source such as sensation from experience molds our thoughts. Although this essay may not be able to prove scientifically the validity of Locke’s contention, at least by revisiting his philosophical explanation, one is led to rethink any prior belief which either favors or opposes him; or begin a journey of reflection which would satisfy at the very least, our thirst for reason.Innatism disagrees with early theorists such as Locke by arguing that humans have innate knowledge or have access to ideas, which are inborn like those that we conceive as true because they are self-evident without the need of s ome external source to rely on. Innatism proponents refer to ideas we have known beyond experience such as those acquired through transcendental possibilities, notions of good and evil or morals, ethical truths, and nature of causality.This is similar to Plato’s theory of knowledge of the forms; that we already have gained knowledge of things before we are born and we only tend to remember them as we experience life (Anamnesis). He showed this in Meno, when Socrates led a boy to explain something he has not been taught or has not learned yet but nonetheless was able to arrive at. Is it possible for humans to have known anything without having learned it?Do we truly have knowledge in our subconscious that will soon be revealed when reminded or called for? Locke thinks there is a process in the formation of ideas among mankind. He further explained his case in his â€Å"An Essay Concerning Human Understanding.† More or less, the conflict is whether or not ideas are deriv ed from experience and its sensation or pure reason.First, should there be ideas derived from pure reason, then it should result to a universality of ideas or the so-called universal assent. For while the proponents of innate ideas reason that the nature of ideas held true by everyone is innate, Locke questions the existence of ideas which however are universally accepted are not necessarily innate unless there was no other way for it to be established. In the first place, Locke is not comfortable with the idea of universality.Morality and ethics are dependent on cultures and norms. Besides, the acceptance of innate ideas might challenge a person’s capacity to retain them since there are so many ideas to remember yet the brain could only afford to store enough. There will certainly be issues of which universal ideas and how many of them do we innately possess?As objection to Locke’s arguments, supporters of innatism purport the need for Reason to discover the innate id eas. However to Locke, this is a manifestation of self-contradiction since the primary argument of the opponent is- that innate ideas do not need external source for confirmation. Better yet, are the experiences that provoke remembrance of the innate ideas necessarily the same as well?On a personal note, Locke’s contenders must be delineating between innate ideas, which are the harbinger of Pure Reason therefore making them innate as well and ideas which, out of our experiences as we grow, are either modified and are potentially creating new forms of reason nevertheless corrupted. For instance, even if we think of killing other people as innately immoral, the formation of new cultures and new belief systems may transform this otherwise like when it becomes acceptable in political terms, (i.e. war against terrorism) or anthropological terms (i.e. cannibalism).This is probably why they adhere to Pure Reason- that which is uncorrupted by society’s development and change. Locke could challenge this by saying that there will emerge to be better societies like those which are deviant from modernity or that children must be more expert than adults in conceiving innate ideas. Thus, in discussions of origin of ideas, adherents of innate ideas are on the losing end.How then are ideas or knowledge created? This is somehow presented in Locke’s counterargument on universal assent- such that if ideas are innate, they have to be assented to universally. This calls for differences in ideas that are innate in one person against another. But the need for them to be assented to suggests that there are no innate ideas. People are prone to disagreements and could this be explained by the innateness of the ideas or of their inherent differences?It seems like Locke would rather explain this through varying capacities of people to understand and react to experiences which we encounter or have encountered in the past hence making us susceptible to perceiving disti nct opinions. Knowledge is a result of this interaction among people and whichever prevails is the one, which is rendered more reasonable than the other as a result of more coherent experiences.

The Source of Creativity in Writers

We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creation s of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well.  ¹ Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separat e writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is i n going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naà ¯ve day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite ext ensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we h ave as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the oth ers.We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion. The Source of Creativity in Writers We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.? Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creati ons of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well. ? Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is e asily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no dou bt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensi ve. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the others. We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also , at least for the moment, to the end of our discussion.