Alice Walker and The Color Purple Essay Example

Alice Walker and The Color Purple Essay The book â€Å"The Color Purple† is a story of how two sisters although living completely different lives in way different parts of the world kept a healthy relationship. This story was written by Alice Walker. One of the sisters is named Celie and the first half of the book or so is letters with whats happening in her life where she is writing to God. The other half of the book her and her sister Nettie are writing letters to each other trying to keep a healthy relationship with each other. Although there lives busy they try to keep as healthy a relationship as possible. The first half of the book or so where Celie is writing to God she basically is just ranting to him and saying what it really means to be a young black woman in her time. Which involved pointless marriage,being beaten, being treated unfairly, and in her case being as dumb as a bag of rocks. She wasnt very educated, she had a lack of keeping information in once heard about it. Her sister Nettie on the other hand was really smart and a had a well founded education. There mom had passed away and they were living with what they thought was there papa for years. One day though a no name mister came to the house in search of a wife and although Celie wasnt very smart nor pretty she had what it took to be a housewife and thats exactly what Mr.___ was in search of. So Mr.___ took Celie as his wife and she left with him that day and went to live with him, this is when Nettie and her lost contact for awhile. This was only because Mr.___ was keeping Nettie’s letters from Celie, Nettie e nded up being a missionary with her husband in Africa and constantly wrote to Celie. Celie’s husband Mr.___ would beat her if she did wrong and always told her what was right in his mind, He was more of a commander than a husband. He had children and they were a mess, it was now Nettie’s job to upkeep the children and get them ready for school in the morning. It was also her job to cook We will write a custom essay sample on Alice Walker and The Color Purple specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Alice Walker and The Color Purple specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Alice Walker and The Color Purple specifically for you FOR ONLY $16.38 $13.9/page Hire Writer

The History of the Drug Krokodil

The History of the Drug Krokodil Krokodil is the street name for desomorphine an opiate-like drug similar to and a substitute for heroin used by addicts. Krokodil or desomorphine began its history as a patented drug. US patent 1980972 was issued to chemist, Lyndon Frederick Small for a Morphine Derivative and Processes on November 13, 1934. The drug was briefly manufactured and marketed by the Swiss pharmaceutical company Roche under the brand name of Permonid but was abandoned as a commercial product for its short shelf life and highly addictive nature. In the early 2000s, the drug resurfaced in Russia as krokodil, a home-brewed heroin substitute that takes about thirty minutes to manufacture from codeine pills and other substances. The home brewing of this drug includes the inclusion of impurities and toxic substances that have lead to some horrific consequences for users. Krokodil (Russian for crocodile) is named after one of the drugs major side effect, the greenish and scaly appearance of the damaged and rotting skin of users. Take one look at this Huffington Post video report and youll be quickly convinced never to try this drug. If You Dont Want It - Recycled Patents Many illicit street drugs (and even semi-legal ones) have had their origins in legitimate research done by pharmaceutical companies, research that has even resulted in patents being issued. For example, organic chemist John Huffman was the unwitting inventor of a synthetic version of marijuana. A few enterprising individuals read John Huffmans research on synthetic cannabinoids and began manufacturing and selling synthetic marijuana products such as Spice. These products were legal for a short spell of time, however, in most places they are no longer legal. Another popular street drug is MDMA or Molly as it is now called. The original formula for Molly was patented in 1913 by Merck, a German chemical company. Molly was intended to be a diet pill, however, Merck decided against marketing the drug and abandoned it. MDMA was made illegal in 1983, seventy years after it was originally invented. Heroin was once a registered trademark belonging to Bayer, the same folks that invented aspirin. A method of manufacturing heroin from the opium poppy was developed in 1874, as a substitute for morphine, and believe or not was used as a cough suppressant. The mind-bending psychedelic drug LSD was first synthesized on November 16, 1938 by Swiss chemist Albert Hofmann while working for Sandoz Laboratories in Switzerland. However, it was a few years before Albert Hofmann realized what he had invented. Until 1914, cocaine was legal and even an ingredient in the soft drink Coca-Cola. The method of manufacturing cocaine from the coca leaf was invented in the 1860s. Lyndon Frederick Small 1897- 1957 A 1931 Time Magazine article discusses the work of Frederick Small Lyndon in relation to the growing opiate epidemic in the United States. ....the Bureau of Social Hygiene gave the National Research Council funds for a study of drug addiction and the invention of a drug which would do for medicine everything which the habit-forming drugs do, yet not cause habit itself. Such a harmless, beneficial drug would make the manufacture of the baneful drugs needless. Then they could be completely suppressed. Council discovered Dr. Lyndon Frederick Small, just returned from two years of study in Europe, at the University of Virginia and financed a special laboratory for him. Out of a coal tar product called phenanthrene he has synthesized several drugs which closely resemble the chemical structure and physiological action of morphine. He sends them to Professor Charles Wallis Edmunds of the University of Michigan who tests them on animals. The two are confident that within perhaps a few months they will have an authentic drug which will not make, as morphine, heroin and opium do, pasty-faced, emaciated, depraved liars, out of its users.

Investment case Essay Example | Topics and Well Written Essays - 500 words

Investment case - Essay Example 45). Some of the skills required in order to manage a car rental company are decision making skills, good communication skills and professional appearance. Rental purposes –The manager is able to offer rental services to clients who want to use car for a specific duration or travel for long distances. The cars that are allocated for rental purposes should be heavy duty vehicles or four wheel drive vehicles like Land cruiser, Range Rover and Jeep. This are quite effective for long distances and are quite comfortable. This types of vehicles can attract a wide range of customers. Airport purposes- The manager of a car rental business is able to allocate some cars to offers transport for clients that arrive into the country and want transport. The types of cars that should be at the airport should be ostentatious so that they can attract customers. The type of car that can be used at the airport include Mercedes Benz and New models of Toyota. The drivers should also be dressed in a proper manner and should be able to communicate with the customers very well. Daily activities – The manager of the car rental service can offer services for clients that need their services within the town center. VOGEL (2000) asserts that most of the clients that use the car rental service in their daily activities should be regular clients for this service (Pg 54). This will mainly look for a specific group for example employees that work in a specific firm. Security services - The manager for the car rental services can offer some of the vehicles to be used for security services . Some of the vehicles can be used such as jeeps and Land cruiser. This car will be effective in offering security services to different clients. I believe that car rental service is a plausible investment that can make me a lot of money. If I can concentrate more on the two core markets include the tourist market and the business market, I will be able to get good returns . There is

Asignment 5 Essay Example | Topics and Well Written Essays - 250 words

Asignment 5 - Essay Example Formatting the proposal letter would also include including final remarks and salutations at the end. For instance, I would conclude the letter by writing ‘yours in service’ followed by restating my position within Artifice and signature. In addition, I would conclude the letter by restating the topic and emphasizing on ethical advantages of joining corporate responsibility officer association. The aforementioned essentials are imperious in maintaining professionalism and avoidance of questions regarding potential mistakes (Anderson 625). I would also ensure that I always restate theme of the proposal letter throughout the essay. Repetition of fundamental points in a proposal letter is essential in reminding readers and audience of its intent. In addition, restating subject of the letter would help sustain patience and provoke readers’ meditation over topic in question. It would also be imperious to employ emotional and present tense language besides using general pronouns. Emotionally persuasive language would entail reminding listeners and readers that they remain fundamental decision makers to whether Artifice would join corporate responsibility officer association. For instance, I would start the initial sentence by writing that ‘I am writing to propose that we as loyal and committed members of Artifice Incorporation join CROA’. It would also be essential to correct grammatical mistakes within the letter for example change Artifice Incorporated to Artifice

Business News Event - Article Summaries Example | Topics and Well Written Essays - 1000 words

Business News Event - Summaries - Article Example In this article, the strategies that Samsung pursues to attain competitive edge together with the challenges and threats facing the company have been enumerated. The strengths and strategies of the competitors like apple, Nokia and Motorola have also been highlighted. The article will however be used in identifying some of the management concepts and elements that Samsung engaged in to make its products remain relevant in the market where consumer preference determines success. In this article, the management of Samsung recognizes the need to employ foreigners to help in the development of software for their handset. The company targeted the highly talented professionals from India and other nations who were ready and willing to offer their services to improve the quality of the handsets and products that were manufactured. Moreover, this would be a deviation from the company norms and culture whereby the company employees were entirely locals. Organization culture forms an important concept in the operations of businesses and the manner in which businesses conduct their activities (Treat 86). Organization culture is important for branding, identification, and history. It has often been used in developing strategies meant to ensure organization successfully markets its products. From the article, it is clear that managing competition requires high level of flexibility and breaking of organizations norms (KIM 25). Competition determines how management will conduct business and set their prices. Quality must be improved in a bid to ensure that customers prefer a company’s products more than those of competitors. Managing competition therefore requires the commitment of the managers and other important business stakeholders. In the case of Samsung, the company management had to act at the fastest time possible to have the company embrace competition in a the free market. Another management concept that can be learnt from the article is change management. Ch ange can be defines as the alteration of the status quo i.e. making adopting new ways and methods of doing things. In the business scenario, companies have to continuously conduct environmental scan in which they attempt to predict the possible changes in the environment and analyze the impact of such environmental factors on the business performance and operations (KIM 26). Companies that are able to accurately forecast on the possible changes in the environment and formulate policies that may assist in ensuring that the business is not adversely affected will always be in a position to survive and maintain desired growth. From the article, Samsung as a company has been in a position to realize the need to change some of the fundamentals that are necessary in ensuring it enhance efficiency and promote customer satisfaction. The company was in a position to predict the shifts in the market tastes and preferences by the development of smart phones and iPhones. Samsung realized the ne ed to have them change their employee base by employing and engaging employees who are foreigners (Treat 89). The company further went ahead to accept completely adopt new ways of conducting business without really remaining fixed on the mode of their operations. In addition, Samsung increased its investment in research and development in order to support the development of

Film Analysis Of Double Indemnity Film Studies Essay

Film Analysis Of Double Indemnity Film Studies Essay From the moment they met, it was murder! This is the legendary tag line for Billy Wilders most incisive film noir, Double Indemnity, even though in 1944, when it was first released in New York on September 11, critics called it a melodrama, a elongated dose of premeditated suspense, with a pragmatism evocative of earlier period French films [poetic realism of the 1930s], with characters as rough, solid and inflexible as steel. Even though James M. Cain is accredited as the original novel and Raymond Chandler and Billy Wilder contribute to screenplay credit, the film is in fact based on the case of Ruth Snyder, a criminal murderess who breathed her last breath in the electric chair on January 13, 1928. Supported by Miklos Rozsas throbbing film score and John Seitzs expressionistic black-and-white camera work, Wilder had no valid idea he was filming in a technique called noir; he found out about this many years later, to his great astonishment. In Double Indemnity, Walter Neff (Fred MacMurray), a to some extent cute but dim insurance agent, becomes prey to the charms of a flirtatious blonde, Phyllis Dietrieckson. (Barbara Stanwyck), an anklet-sporting femme fatale/housewife. She plots to kill her husband in a railroad mishap that would bring her a double indemnity insurance imbursement. What makes this film a wonderful case in point of the culture and style of film noir is that, as stated by the movie production convention of the period, jealousy becomes a part of Walters relationship with Phyllis after he does the crime. Thinking she has an additional, much younger admirer, he murders her in a rage of jealousy, then in all probability bleeds to death from a shot fired by the perishing Phyllis, having first relegated the complete story of the film in a two-hour flashback. (In the new novel, Walter and Phyllis go off jointly on a journey, happily back together.) in accordance with with the crime doesnt pay principles of the era, Billy Wilder even added a shot of Neff dying in the San Quentin gas chamber, but thought the film looked better with the film concluding as Neff hears the wails of police and/or ambulance sirens approaching. Double Indemnity is the most excellent example of a noir film to date: rough as sandpaper, with acerbic, wrenching dialogue and practical sets. Watch Walter and Phyllis as they get together in a luminous white southern California superstore, sporting dark glasses, not shopping or still watching each other while plotting up plans for a homicide. And those magnificent lines: Yes, I killed him for money and for a woman. I didnt get the money and I didnt get the woman. Pretty, isnt it?, There was no way in the world I may perhaps have known that murder occasionally can smell like honeysuckle, or I couldnt hear my footsteps. It was the walk of a dead man,. Double Indemnity moreover has a homoerotic bond between Walter Neff and Barton Keyes (Edward G. Robinson), the claims examiner who believes Phyllis, but not Walter, of the crime. Wilder underplayed the father-son relationship in addition to the police routine constituent that could have made his film a detective tale more willingly than a twisty noir, which is what it in actuality is. Wilder took the focal point off Robinsons role and cultivated his viewpoint, in disparity to the many detective films of the age that instigated in novels of Raymond Chandler, his co-conspirator. By modeling Double Indemnity into a homicidal melodrama with sexual insinuations, Wilder produced a rational crime accomplishment. The Book and The Film Wilders film and Cains novel even supposing it does not credit the book as its source. Body Heat can be expressed as a masquerading or unacknowledged remake, a film that repeats basic story units from the Cain novel (and Wilder adaptation) but changes the details of its name, location, period, character names and the those like it. For want of a screen credit recognizing the source property, the remake becomes a hypothetical construct or role of the films production and response. Imperative here is Cains standing, and the untimely 1980s revitalization of notice in Cains work, nevertheless more important is Double Indemnitys advantaged place in the noir principle. A small number would refute that Double Indemnity is a perfect film noir and one of the most significant movies in Hollywood history. It was an unconventional film, challenging almost a decade of Production Code battles to Cains literature. Frank Krutnik in the same way declares that Double Indemnity was traditionally signif icant in the growth of the 1940s erotic crime thriller, setting up through its depiction of the Cain tale a model for the story structures of following film noirs. Lately, Brian De Palma (whose reverence to Alfred Hitchcock are well known) has paid compliment to film noir, by the opening scene in Femme Fatale (2002) with the title character, Laure Ash (Rebecca Romijn-Stamos), mirrored in a hotel room television screen as she gazes at the Barbara Stanwyck model in Double Indemnity. These instances of Double Indemnitys repute and standing in film history help make clear why critics such as Leitch openly match up Body Heat to Wilders version, but do not take heed to Double Indemnity had previously been more honestly remade as a lesser-known movie for television, intended for by Jack Smight in 1973. Double Indemnity starts with Walter Neff (Fred MacMurray), bleeding from a bullet wound, stumbling into his office in the Pacific Insurance Building. Neff talks into his dictaphone and his narrative of an unholy love and an just about perfect crime unfurls in flashback. Neff is an insurance salesman who becomes entangled with the beautiful and treacherous Phyllis. Phyllis encourages Walter not only to lend a hand her take out a $100,000 life insurance policy on her spouse, but also to assist her in murdering him. Jointly they simulate Dietrichsons inadvertent death in order to meet the criteria for the double indemnity, but things go awry when Neffs manager, Barton Keyes, starts to infer murder. Neff starts an acquaintance with Phylliss step-daughter Lola, who suspects that Phyllis has started going out with her (Lolas) previous boyfriend Nino Zachetti. Believing he has been deceived, Neff plots a plan to murder Phyllis and trap Zachetti. In an argument in the gloomy, Dietrichson sit ting room, Walter slays Phyllis, but not before she gravely stabs him. Towards the end, the narrative turns back to the current day where the dying Walter is reassured by the paternal Keyes. Even though Wilders Double Indemnity is frequently thought of as the original alongside which Kasdans noir remake is weighed up, Body Heat can more generally be seen as a remaking of Cains composition (or no less than those works by which he is best kept in mind). Some critics go as far as to dispute that Double Indemnity was a case of auto-citation, produced by [Cain] in full familiarity of the fact that he was paying his own homage to [The] Postman: Both tell fundamentally a similar story: an all too obedient male is enchanted by a physically powerful and scheming lady. With her inspiring it and with him ironing out of the details, the disloyal couple carry out a perfect murder of the womans husband. Afterward, when they are practically free, providence (or irony) swipes them with its gigantic lumbering paw and they are given their just desserts but for different reasons. Such an association makes possible for one to recognize noir essentials for example the hard-boiled conversation and portrayal of bare (and graphic) animal covetousness that are universal to both The Postman and Double Indemnity. For example, Body Heat is considered for dialogue for example Neds You shouldnt wear that body, and Mattys Youre not too smart, are you? I like that in a man. On the other hand, at an even higher plane of generalization, it can be said that Body Heat at the same time refers to and remakes the noir genre to which its intertexts belong. Film Noir For a moment or two, both the problem movies and the semi documentary crime thrillers made it appear that Italian neorealism had established a habitat in an anxious, if prosperous, America. One of the preeminent things that is taking place in Hollywood is the propensity to move out of the placeto support imaginary pictures on information and, more significantly, to shoot them not in decorated studio sets but in authentic places. But an additional assortment of postwar American film, one which was dependent on the restricted environment of the studio on top of bona fide locations for its representation of the sordid underbelly of American life, soon became apparent. This was film noir (more exactly, black film), invented and named by French critics in 1946 when, experiencing American motion pictures for the first time ever since 1940, they alleged a weird and wonderful new mood of cynicism, dimness, and depression in definite crime films and melodramas. They came up with the term from the Serie Noire detective pulp fiction books then all the rage in France, many of which were renditions of works by members of the hard-boiled genre of American crime authorsDashiell Hammett, Raymond Chandler, and James M. Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson)whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilders acidic Double Indemnity (1944), which shocked Hollywood in the year of its release and was just about banned by the authorities, may be considered as the archetype for film noir, even though some critics trace the origins back to such rough but significantly less pessimistic films as This Gun for Hire, High Sierra, The Maltese Falcon, and Stranger on the Third Floor. Mo dified by Wilder and Raymond Chandler from a James M. Cain novel, Double Indemnity is the squalid story of a Los Angeles insurance agent (Fred MacMurray) sexually ensnared by a clients wife into killing off her husband for his death reimbursement; it has been declared a film without a solitary trace of compassion or love. Without a doubt, these are characters remarkably missing from all films noir, as conceivably they seemed not present from the postwar America which created them. Like Double Indemnity, these films succeeded upon the unembellished interpretation of greed, desire, and unkindness because their fundamental theme was the profundity of human immorality and the absolutely unheroic character of human beingslessons that were almost not taught but without doubt re-emphasized by the one of its kind horrors of World War II. Nearly everyone of the dark films of the late forties take the structure of crime melodramas for the reason that (as Dostoevsky and Dickens recognize) the devices of crime and criminal detection afford an ideal metaphor for dishonesty that cuts across conformist moral classes. These films are frequently set in southern Californiathe geographical archetype for a social order in which the breach between anticipation and reality is determined through mass hallucination. The cent ral characters are regularly unfeeling antiheroes who chase their foundation designs or basically drift aimlessly from side to side in sinister night worlds of the metropolitan American harsh world, but they are even more frequently decent people trapped in traps set for them by a crooked social order. In this concluding sense, film noir was immeasurably a cinema of moral nervousness of the kind experienced at various times in postwar Eastern Europe, most lately in Poland at the pinnacle of the Solidarity groupi.e., a cinema about the environments of life enforced on truthful people in a untruthful, self-deluding society. The moral unsteadiness of this world was rendered into a visual style by the expert noir cinematographers John Alton, Nicholas Musuraca, John F. Seitz, Lee Garmes, Tony Gaudio, Sol Polito, Ernest Haller, Lucien Ballard, and James Wong Howe. These technical masters turned into moral vagueness obviously real through what has been called anti conventional cinematography. The method incorporated the all-encompassing use of wide-angle lenses, allowing even more and greater depth of field but causing animated deformation in close-ups; inconspicuous lighting and night-for-night filming (that is, essentially shooting night scenes at nighttime more willingly than in bright daylight with dark filters), both of which produce ruthless contrasts between the light and dark spheres of the frame, with dark outweighing, to match the moral disorder of the world; and pointed, unnatural set-ups. If all of this spears to be suggestive of the artificial studio modus operandi of German Expressionism, it ou ght to, for the reason thatlike the Universal horror phase of the thirtiesfilm noir was fashioned to a large degree by German and Eastern European migrs, a lot of of whom had gained their basic training at UFA in the twenties and near the beginning of the thirties. The noir directors Lang, Siodmak, Wilder, Preminger, Brahm, Litvak, Ophls, Dieterle, Sirk, Ulmer, and Bernhardt; the director-cinematographer Rudolph Mat; the cinematographers Karl Freund and John Alton; and the musicians Franz Waxman and Max Steiner had all been linked with or inclined by the UFA studio technique. On the other hand, given its subject matter, film noir could barely break out of the general pragmatic predisposition of the postwar cinema, and noir directors recurrently shot outside shots on location. Such wartime modernizations as slighter camera dollies and moveable power packs, higher speed lenses and additionally sensitive, fine-grain film rolls cut down the logistics of position shooting and aided to generate for film noir a nearly standardized visual method. For this motive, it has become trendy to discuss film noir as a category (some consider it is a genre) of idealistic or expressive pragmatism; but its inheritance includes such a wide variety of cultural influencesGerman Expressionism and shock exploitation, American gangster movies from the thirties, Sternbergian exoticism and self-indulgence, the graceful pragmatism of Carn, the case-hardened institution of American fiction, the forties cultural significance and fame of Freud, postwar American disenchantment (particula rly a sagacity of sexual betrayal amongst GIs coming back home) and the flourish of cinematic practicality it created, cold war mistrust, and for sure, Citizen Kane that it is probably better to typify it as a cycle to a certain extent than to draw up the boundaries too rigidly. Double Indemnity (1944), d. Billy Wilder, Paramount, 107min., bw, sc. Billy Wilder and Raymond Chandler from the novel by James M. Cain, ph. John Seitz, m. Miklos Rozsa, v. MCA.

Pepsin and Protein Essay -- Papers

Pepsin and Protein Question Is the rate at which Pepsin digests protein affected by temperature? Prediction I predict that it is affected by temperature. The optimum temperature will be between 30 °C and 40 °C. This is because the average human body temperature is 37 °C. At 0-20 °C (which includes the groups 0-10 and 10-20) the pepsin will not digest the protein for a long time. This is because it is a too cold environment for the enzyme to work most effectively and quickly. At 20-30 °C the pepsin will work slightly more quickly than at 0-20, but not as well as at 30-40, because it is reaching the optimum temperature, though it is not quite there yet. At the higher temperatures (i.e. 40-70 °C) the enzymes will not work as well. You may think that, using the pattern up to 30-40 °C, the higher the temperature, the quicker pepsin works. But this is not the case because when it gets too hot, the enzymes start to lose their shape. Enzymes use a very precise "lock and key" method to digest food. For example pepsin, which is a protease enzyme, has a shape exclusive for digesting protein molecules, and as soon as it changes its shape (in this case due to heat) it cannot digest the molecule it was originally designed to digest. Once it has changed shape it cannot change back again. The "lock and key" is demonstrated below with diagrams. The pepsin molecule locks onto the Glucose molecules are very glucose molecule and breaks it complex but they still need down into smaller particles. specially designed enzymes that fit the molecules perfectly to break them down. If the temperature is too high and the enzyme changes ... ...ironment pepsin works quickest in. (see prediction). The independent variable will be the temperature range - 0-70 °C in jumps of 10 °C.This is what to change for the investigation. Nothing else must change, because then it would be an unfair test. The dependant variable will be the rate at which pepsin digests the egg white suspension - in other words how long the mixture takes to go clear. This will give you the results. For a fair test the controlled variables will be the amount of egg white suspension (25cm ²), the amount of pepsin (5cm ²) and the amount of hydrochloric acid (5 drops from the pipette) used. Also how often the mixture is checked will be a controlled variable. To make the results as accurate and reliable as possible, each temperature range will be repeated 5 times, and an average will be taken.

Mitch Epstein.A new history of photography Essay

Mitch Epstein Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Mitch Epstein acknowledged widely as one of the most distinguished art photographers around the globe, however a whole survey of his art is yet to be published. Mitch Epstein, who is the color photography pioneer and has been making films, photographic books and also pictures for around 35 years. From 1990’s the Vietnam pictures present the artist’s distinctive balance of nuanced wit and formal rigor; and they are clear illustration of what detractor Joanna Lehan refers to Epstein’s â€Å"jaw-dropping color use.† Epstein photographs also are a significant sign in Epstein’s progression as a photographer, a link between Epstein’s early street artistic work and also his huge format work to appear (Moore et al, 2010).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The pictures in the display are a lyrical odyssey during post war Vietnam. Photographs by Epstein depicts that under beauty there lies violence while under the war remnants is a society struggling with continued censorship and new freedoms. Mitch Epstein visited Vietnam where he made six trips there when the nation began opening its borders around 1992 and 1995 to the outsiders following two decades of separation. He worked together on a book with radical Vietnamese novelist where he was able to get access to the nation that a small number of outsiders had. However, in 1995 Epstein learned that he would be requires to hand over his pictures to the government of Vietnam for censorship. Epstein ended the collaboration due to artistic freedom and his book was published by means of a text by the Vietnamese artist. Epstein photographs are up to now virtually hidden in the nation from which they surfaced, except through the intelligentsia that w ere responsible in smuggling in the book (Frizot, 1998).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The exhibition enlightens an indispensable point in the career of Epstein. The method of the artist became more painterly and deliberate in Vietnam. He revived and mastered the life which was at standstill. His sluggish, gradually formalist approach obviously resulted to 8x 10 view camera that he uses now. Vietnam also marked a new period whereby politics indirectly would, yet considerably have an effect on Epstein’s artistic work. Epstein’s next works all suggest a keen sense of community’s intrigues, just like the Vietnam photographs do. In Vietnam, Family business, American power and The city, Epstein delicately depicts that power of a nation, a patriarch or a city leaves its mark on the public landscape and also in the private lives. In America also Epstein continued with his art of photography where he travelled across the whole nation, making the photographs not just of wind turbines, oil refineries and nuclear r eactors, but also of solar ovens, electric chairs and gas stations (Moore et al, 2010).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   New work being carried out by Epstein is a sequence of photographs of idiosyncratic trees inhabiting the New York City. These pictures depict the significance of trees to the urban life and also their multifaceted relationship to their human correspondents. The cumulative significance of these photographs is to reverse the individual’s usual perception concerning their city. In this regard the trees do not function as background any longer, and instead control the architecture and human life around the world. Mitch Epstein’s work has influenced many people across the globe and therefore making his artistic work significant to the history of photography (Epstein, 2005). References Epstein, M. (2005). Recreation: American photographs 1973 – 1988 (1. ed.). GoÃÅ'ˆttingen: Steidl. Frizot, M. (1998). A new history of photography. KoÃÅ'ˆln: KoÃÅ'ˆnemann. Moore, K. D., Crump, J., & Rubinfien, L. (2010). Starburst: color photography in America 1970-1980. Ostfildern: Hatje Cantz. Source document

How to Write a High School Book Review

How to Write a High School Book Review How to Write a High School Book Review Instructors are fond of assigning book reviews in high school. Most students think that book reviews are some sort of punishment that ensures they read the whole book and write a 500 word critique. However, book reviews are assigned to students so that they can develop a better understanding of the society in which they live and the world at large. How to write a high school book review is a nightmare for most high school students who despise reading, but it does not have to be if one follows some simple rules. First, one must understand the nature of a book review, which is the reader’s reaction to a specific book rather than a simple summarization of the work. A book review involves analyzing the validity of the content, purpose, and organization of the book. There are two basic kinds of book reviews, descriptive and critical. Descriptive book reviews evaluate the pertinent information offered in the book through exposition and description and is couched in the context of literary and historical values. These attributes are then supported by evidence from the work. The writer states and examines the perceived purposes and intentions of the author, often quoting some of the most compelling excerpts from the text in an effort to illustrate a point. However, in most cases, high school students are assigned critical book reviews to complete as part of their literature assignments as opposed to descriptive. In a critical book review, students must be conscious of two requirements. First, students need to be well informed of the work under review. This necessitates that the student understand the author’s purpose and how the sections of work contribute towards the purpose in writing. Gaining a basic knowledge about the author’s life experiences, as well as other works by the author and time period of publication, will often facilitate the student’s ability to understand the influences on the author’s works. Secondly, it is imperative for students to understand the genre of the text. Understanding the book’s genre is simply to be conscious of the art form of the book and utilization of its characteristics. Without knowledge of the genre, students have no literary understanding upon which evaluation s are based. The basics of a book review also include having a sense of what the reader expects to find in the critique. The reader should be able to glean from the critique some understanding of author’s thoughts and intentions without reading the original text. Main events and themes of the book are presented in a coherent and precise manner. Finally, in a review, apart from communicating the author’s purpose, it is prudent for the reviewer to express an opinion about the author’s success in achieving the purpose in writing the book. Students must be certain to provide adequate evidence to support personal opinions. In summary, completing a book review, just like making a book report, requires one to read through the entire text and offer a reaction to the content of the book, as well as its organization and the author’s ability to express ideas in a clear and concise manner. The student will find it helpful to develop and follow an outline as a way to organize ideas in a coherent manner. Finally, the student must spend time revising and proof-reading the critique. Visit to get professional book review help from academic experts who hold Masters and PhD degrees.

War is Inescapable Part of Human Experience Essays

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