The Main Communication Channels in Organizations

The main communication channels that are commonly used in my organization are wireline and wireless communication channels. Being a hospitality company, the top officials are frequent interaction with the junior officials for consistency.Advertising We will write a custom essay sample on The Main Communication Channels in Organizations specifically for you for only $16.05 $11/page Learn More The main forms of communication under the wireline channel are telephone calls and computer networks (Middleton, 2002). In this organization, senior officers usually use telephones to communicate within the organization, as well as to organize external meetings and interviews among others. On the other hand, wireless communication channel involves the use of internet through computers, mobile phones, televisions, and radio calls. Since the organization has an official website all official communication within the organization as well as to the organization’s c lients is done through the internet. Telephone and radio calls are mostly used by the top officials to communicate meetings or emergencies. According to Middleton (2002), some of the main interferences within communication channels resulting into noise are electromagnetic interferences, and interferences of radio frequencies among others. As it has been revealed, interferences of the electromagnetic system usually cause inefficiency in the performances the entire system, resulting into noises. Further, interferences of the radiation emitted by most of the electronic appliances may interfere with the frequencies in the entire communication system, resulting into noise. One of the main strategies that ought to be incorporated in my organization’s communication system is a ‘short message’ notification for an official message. Since many officials are not always logged in their e-mails, it would be quite important if the system is made more effective through ‘s hort message’ notification for any new message from the administration. It should be noted that, e-mails are not only effective means of communication, but also necessary in the current society dominated by digital communication. Basically communication has largely improved because of technology since it is easier for information to reach large number of audience within a very short time (Middleton, 2002). According to Middleton (2002), organization’s climate affects communication largely. If in an organization there is free interaction between the top and lower officials, communication would be easier and effective. On the other hand, when lower ranked employees are restricted to freely interact with their top officials, communication would be limited among the social classes.Advertising Looking for essay on business communication? Let's see if we can help you! Get your first paper with 15% OFF Learn More Generally, the recurring pattern of behavior with in an organization determines a lot the overall communication patterns within the organization. Generally, the organizational climate determines the how inter-group of interpersonal communication trends are facilitated. As reported by Middleton (2002), non-verbal communication is one of the most powerful means of communication within an organization. Non-verbal communication involves the use of body signs and signals to denote a certain meaning. Some of the main non-verbal communication modes are facial expressions, gestures and changes of behavior. On this basis, the development of skills to read non-verbal communication effectively is important. Through training of the non-verbal language of communication, it becomes possible for the members in the organization to understand each other more accurately. After being trained on various implications of the body language, an individual develops appropriate skills necessary to effectively read non-verbal communication. In the organizati on that I work for, nonverbal communication is largely used in my workplace. In this case, gestures and facial expressions are the main nonverbal communication modes used. For instance, if an individual is not happy with the supervisor’s behavior he or she frowns, indicating his dissatisfaction by the supervisor’s action or message. More so, gestures are largely used to notify an individual about an attention needed at certain point urgently. Hand gestures are the most popularly used form of gestures in my work place, since the noise made by machines does not enhance effective verbal communication (Middleton, 2002). As held by Middleton (2002), communication within organizations may be either through formal or informal channels. One of the main advantages of formal communication is that, the messages can be stored for future use. More so, messages from formal communication can be tested for accuracy and reliability. However, informal channel of communication requires f ormal skills of expressing ideas. On this basis, formal communication is only limited to the elite and skillful individuals within an organization. On the other hand, the main advantage of informal organization is that, it does not require special skills and results into more interpersonal relationships within an organization. However, informal communication channels may be deceptive, resulting into its unreliability for future references. One of the most commonly used informal communications in organizations is rumors.Advertising We will write a custom essay sample on The Main Communication Channels in Organizations specifically for you for only $16.05 $11/page Learn More One of the ways in which organizations can use rumors in their organization is to spread rumor of cutting back to maximize production in their organization. By being closer to the employees and subsequently paying more attention to the atmospheres of workplace, managers would make emp loyees more productive since they would be more motivated. According to Middleton (2002), it is ultimately not ethical for managers to rely on rumors since they are ultimately unreliable and may arouse tension within the organization. Generally, use of rumors in organizations is an informal communication means which is unethically acceptable as means of communication within organizations, despite being a motivating agent among the employees. Reference Middleton, J. (2002). Organizational Behavior. New York: Capstone Publishing. This essay on The Main Communication Channels in Organizations was written and submitted by user Zoey Sloan to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

deforestation mt. everest essays

deforestation mt. everest essays When examining the effects tourism has on the environment, Mount Everest never comes to mind as high tourist attraction. However, in the last fifty years since Sir Edmund Hillary visited the region in 1953, mountaineering and trekking expeditions have been increasing in the region. With this increase in tourism comes a need for timber and timber related products. Stan Stevens, in this article, tries to determine the causes of degradation and forest thinning in the Sherpa-inhabited Mt Everest region of Nepal. The Sherpas are the local people of the region and have inhabited this area since roughly the 1500s. Although the area around Mt Everest has been a national park in Nepal since 1976, the Sherpas are completely dependant on the land in the area for survival, and thus have had to coexist with the sanctions places upon the region. The paper examines how tourism has placed new pressures on the forests and vegetation regions in the area, and the effect the Sherpas have had on these forests with the creation of inns in the area. The Sherpas using timber from the local forests around Mt Everest built these inns, which are used for the expeditions to the mountains. The increase in tourism has brought about a great deal of prosperity to the Sherpa people, but at the same time the prosperity has come at a cost to the environment. The inns built by the Sherpas have increased the felling of trees. As a result of the increase in tourism, an increase in the need for firewood has also occurred. The increase in tourism has created a need for up to 2000 tons of woods per year by the inns. In 1976, the creation of inhabited protected area, Sagarmatha (Mt Everest) National Park, has caused the Sherpas to obtain timber from nearby Pharak forest, which has caused these forests to also begin to thin out. Root causes of the forest degradation and thinning of the forest can be traced to two major factors, economic gain and convenience. ...

Argument Analysis Essay 2

Argument Analysis Essay 2 Argument Analysis Essay 2 Bryant & Stratton College Buffalo Campus PHIL 310: Logic and Reasoning Winter 2015 W 6:20pm-9:00pm Brandon Rudroff Argument Analysis Essay 2 PHIL 310 Course Outcomes Assessed 2. Relate the importance of basic logical concepts such as validity, soundness and consistency to reasoning practice. 3. Apply analytical and thinking skills through syllogistic, symbolic and informal logic scenarios. 5. Translate, formalize and evaluate simple arguments in categorical and propositional form. 6. Combine theory and practice to communicate logical arguments orally and in written form. 7. Construct and defend arguments for ones’ self. 8. Critically assess the argument of others. For this final essay, you will provide a critical analysis of the inherent value of logic and reasoning (for life) as well as its contributory (utility) value for your own specific expected career, future educational interests, or life interests. To help support your findings, make connections to topics discussed in class, use references from the textbook, and locate research from reliable sources to help validate and enhance your perspective. To provide some structure to your completion of the assignment, please follow these directions: Introductory Paragraph: Introduce the reader to the paper topic and include a sentence or more that summarizes your main point (thesis) that you will defend in the paper. While this assignment is reflective in nature, it should still have a clear position that you will defend. Body paragraphs: Be sure to address the following: Describe the roles of your expected career, future educational interests, or life interests. Explore the underlying reasons for these decisions. Use logical and reasoning concepts discussed in class this term and reference these concepts from the textbook and class notes. Explore the value of logic and reasoning in relationship to fulfilling these roles in your expected career, future educational interests, or life interests. To help support your ideas, make connections to topics discussed in class, use references from the textbook, and locate research from reliable sources to help validate and enhance your perspective. Explore the value of logic and reasoning in relationship to the happy life in general. To help support your ideas, make connections to topics discussed in class, use references from the textbook, and locate research from reliable sources to help validate and enhance your perspective. You

Writing Habits to Jumpstart Your Creativity and Keep You Focused - Freewrite Store

Writing Habits to Jumpstart Your Creativity and Keep You Focused - Freewrite Store I don’t know about you, but for me, I find that creativity and inspiration are two of the hardest things to come by as a writer. Random flashes of ideas for stories are great when they happen, but what about all those times you need to intentionally create an idea for a story or an article? Today’s guest post is by  Matt Grant.  Matt is a Brooklyn-based writer and editor.  His  work has appeared in  Literary Hub,  Book Riot,  HuffPost, and  BookBrowse.  Find Matt  online, or follow him on  Twitter  and  Facebook. I don’t know about you, but for me, I find that creativity and inspiration are two of the hardest things to come by as a writer. Random flashes of ideas for stories are great when they happen, but what about all those times you need to intentionally create an idea for a story or an article? As humans, we’re all creatures of habit. But our habits are always doing one of two things: helping us or hurting us. The good news for writers is that we can leverage our tendency toward the habitual to aid us in the writing process. Good writing habits, when used correctly, can help us get into a regular rhythm that cultivates inspiration and keeps us focused during our writing time. Below are some of the best habits you can start today that will jumpstart your creativity and make sure your writing time is fruitful and rewarding. Before the Process Practice Morning Pages Morning pages were first introduced in Julia Cameron’s The Artist’s Way: A Spiritual Path to Higher Creativity.The idea of morning pages is simple: the first thing in the morning, write three full pages in a journal or notebook, longhand, as stream-of-consciousness. It’s not supposed to be great writing, and you’re not to self-edit. The main purpose for practicing morning pages is to clear your mind of all distracting thoughts, tasks, and moods that might hinder your creativity that day. When it comes time to write, you won’t be thinking about the laundry you have to do or the conversation with a friend you need to have that day, because you’ve already written it out and set it aside for later. Do writing prompts I’ve recently discovered the huge benefit of writing prompts after being skeptical of them for many years. Often writers don’t think they need to do prompts because they prefer to come up with their own ideas.   But the right prompt can open up new ideas and ways of looking at things you aren’t able to see on your own. You can find writing prompts a variety of ways. Many are free online, you can buy a book of them, or come up with them yourself. Write them down to use at a later time. Try writing sprints Often the challenge for writers is to finish a piece of writing without worrying about it being perfect. That’s where sprints come in. Sprints are short bursts of writing, about 15 minutes at a time. They’re like doing repetitions at the gym. You do a sprint, then rest and do something else, then do another sprint, then rest again, and so on, for as long as you like. Similar to morning pages, you shouldn’t stop writing or try to edit your work during the sprint. Just pick a topic and write for fifteen minutes straight. When you’re done, you’ll have a finished thought or a piece of flash fiction that can then be edited and shaped into something more significant. Check out this free sprinting program  by the Freewrite team  to help you! Read voraciously I know, I know, I probably should have put this one first. It can sometimes be hard to see how reading directly affects your creativity, especially when you’re anxious to get a work in progress done, and you’d rather be writing. But the adage â€Å"a writer is first and foremost a reader† is absolutely true, so read widely anything you can get your hands on, any chance you get. Read different genres in different forms – novels, articles, essays, short stories, poetry and flash fiction. You never know when something you read will strike you as inspiring, and the more you absorb the words of others, the better your own words will get. To get started, try this reading challenge that forces you to read diversely. During the Process Pick the right time of day Once you’ve had that flash of inspiration and are settling in to get started on your work, it’s important to implement the right habits to keep you on track and focused. One of the first steps is figuring out when you’re likely to get your best work done. I’ve personally found that waking up extremely early and writing first thing in the morning has opened up the rest of my day. After I get home from work, I don’t feel as energized or as focused. Of course, not everyone is a morning person. For you, it might be at night, or in the afternoon. Pick which time of day you’re at your most alert and creative, and block out that time to write. And once it’s scheduled, stick to it! Change locales If you’re in a rut, one of the best things you can do is get a change of scenery. Often, finding a coffee shop or a nice library, surrounded by books or soothing music, can be a real boon to getting those creative juices flowing again. If you don’t have a place nearby where that’s possible, go for a walk to clear your head and come back to your work with fresh eyes. Put away distractions However, these locations can only be helpful if you’re not distracted, so be ruthless about putting distractions away! Buy a pair of noise-cancelling headphones, turn the wireless off on your computer, put away your cell phone, and stay away from your inbox. We all know the Internet is a black hole – one minute you’re looking something up for your project, and the next, you’ve spent an hour on Facebook. Set aside another time for planning and researching. Keep your writing time sacred for just that – writing.    Bonus Question: Do you really need to write every day? This suggestion is usually at the top of most writing advice lists. To be honest, I’m inclined to distrust it. I’m wary of anything that’s touted as a â€Å"must† or some mystical talisman. Of course, it’s a good idea to get into a habit of writing on a regular basis. Of course, you should often write and for long periods of time.   But I firmly believe, as with everything, writing should be done in moderation to maximize its effectiveness. More and more research is pointing out how, paradoxically, working less actually leads to more productivity. People who are constantly working are more tired, more anxious, and less inspired – all of which are deathblows to creativity. I regularly take vacations from writing, where I don’t do any kind of work at all. At the end of these breaks, I always come back to my work with a renewed sense of enthusiasm and motivation.    So, by all means, write as often as you can, but if you miss a day, give yourself some grace. When it comes to inspiration, there’s a lot to be said for being out in the world, doing other activities and experiencing things that will fuel your stories. For a writer, there’s no better inspiration than just living life. There’s no doubt that writing is work – hard, grueling, sweat-inducing work. Just as with everything, there are working behaviors and practices you can put in place to help you be more productive and less distracted. Obviously, not everything on this list is going to work for you, and there might be something I left out that’s even better. If so, please leave a comment and let me know what behaviors and practices you have that help keep you inspired! What writing habits do you swear by? Do you have any habits or routines that you love and would recommend to others? Let us know in the comments!    Matt Grant is a Brooklyn-based writer whose work has appeared in  BookRiot, The Huffington Post, BookBrowse, and  Pop Matters. When he's not writing or reading, he works in youth development as an after-school program director for one of the largest middle schools in Manhattan. You can find him online at www.mattgrantwriter.com or on Twitter: @mattgrantwriter.

Project in colombia Essay Example | Topics and Well Written Essays - 1000 words

Project in colombia - Essay Example However, since 20110, the ethnic and political violence has significantly reduced thereby developing a business environment. The United States entered the free trade agreement with Colombia in an attempt to develop the previously small economy thereby possibly creating some stability. The agreement that allows both Colombian and American nationals ease of movement between the two countries has so far benefited both countries. Colombia produces cotton and is a great exporter of the same to the United States. The free trade agreement allows for the unregulated exploitation of the resources in the two countries by nationals from either country. While the country exports such large amount of cotton, she still suffers from massive levels of unemployment with the rate estimate at ten percent. It is therefore in the spirit of the free trade agreement that the projects seeks to set up a textile company in the republic of Colombia. The project is likely to benefit Colombia in a number of ways while the investors target a substantial profit margin. With an unemployment rate of ten percent, it is more probable that Colombia has cheaper labor than the United States, the company will therefore solicit the readily available labor, coupled with lower rates of cotton in the country and the company is more likely to make great profits. The free trade agreement protects the investments of nationals from either country in case of any insecurity incident. Additionally, to obtain better protection the republic of Colombia has a number of insurance company most of which are American based offering American tariffs in the country (Pickton & Broderick, 2005). The success of the bilateral trade between the two countries relies on their efforts in upholding the terms of the agreement. The agreement benefits both the countries and they signed to it owing to its lucrative nature and the possibility of developing the countries. In the spirit of the country, the two countries have effective tax schemes to investors and goods produced in either country as though are in the mother country. This prevents exploitation of investors. Additionally, it prevents the mistreatment of foreign nationals in the countries. The Americans therefore access Colombia markets as though Colombians and vice versa. Additionally, the countries should coexist peacefully. Peace favors investments thus growth. Inter country squabbles destroy the diplomatic relations between countries thus stunts growth and creates animosity between the countries thereby eliminating any business possibilities (Bahreini, Willis & Primack, 1988). The American textile industry therefore has a number of success possibilities key among which is the effective management of the available resources in the republic of Colombia. With readily available cotton retailing at the local market value and cheaper labor, the company is more likely to make more profit. In setting up in Colombia, the company forgoes the cotton transp ortation and importation duties. Besides, the country has reliable yet cheaper electricity a fact that implies that producing the textiles in Colombia is cheaper than a similar production in the United States of America (Petrickv& Quinn, 1997). To maximize profits, the company should access both the

Pharmaceutical Industry Essay Example | Topics and Well Written Essays - 500 words - 1

Pharmaceutical Industry - Essay Example This guarantees the evaluation of all pharmaceutical products in America where the Food and Drug Administration regards them as both safe and effective before the product can be widely distributed and sold (Laws.com, 2013). Failure to understand the medication or conduct thorough clinical trials of the product by a pharmaceutical company in this industry attracts civil lawsuits (Laws.com, 2013). The most popular pharmaceutical companies in this industry include GlaxoSmithKline, Pfizer, and AstraZeneca (Association of the British Pharmaceutical Industry, 2011) where pharmaceutical companies from the United States dominate the industry (WHO, 2014).Pfizer Inc. is one of the largest pharmaceutical companies in the world in terms of revenues. Headquartered in New York City, Pfizer Inc. is an American multinational pharmaceutical corporation and the world's largest research-based pharmaceutical company (Pfizer Inc, 2013). The company does its research in Connecticut, United States. It reco rded US$ 58.98 billion revenues in 2012 (Pfizer Inc, 2013). Johnson & Johnson is another American multinational pharmaceutical company that embraces research and science with an aim of bringing innovative ideas, products and services to advance the health and well-being of people (Johnson & Johnson Services, Inc, 2014). Headquartered in New Brunswick, New Jersey USA, Johnson & Johnson is the world’s largest and most diverse medical devices and diagnostics company (Johnson & Johnson Services, Inc, 2014).

ARNP Project Last Wk Essay Example | Topics and Well Written Essays - 250 words

ARNP Project Last Wk - Essay Example From the diagram, it would be noted that for ARNP to effectively market its services to Gen Y, it first has to review its goals and plans for the organization at large and the Gen Y to be specific. After this, the need to undertake external analysis on the Gen Y segment to come to terms with major demographic variables that pertains to the people. After this, an internal analysis will be needed to be sure if the organization has adequately put its house in ready to accommodate new customers that will be coming in. the internal analysis is often translated by a SWOT assessment, based on which strategies and objectives for the Gen Y group will be developed. The final stage will require the development and implementation of an action plan. Because ARNP is in the health sector, its action plan must focus on how the organization can present differentiated services to the Gen Y so that members within the Gen Y population would choose ARNP over other competitors for the mere fact that ARNP has different services that the others cannot

Wk 2 discussion questions Essay Example | Topics and Well Written Essays - 250 words

Wk 2 discussion questions - Essay Example This will help him feel successful. I remember that in grade school I was a not a good math student. Everything was fine in math class until 4th grade. That is when multiplication and division was introduced. I understood addition and subtraction and working with decimals, but multiplication was very hard for me to grasp. I was weak in my math skills going into 5th grade. My teacher worked with me until Christmas break to help me learn my multiplication tables. She was emotionally supportive through this entire process by rewarding and recognizing all of my successes. She never made me feel as though I was wasting her time or that I was a burden. She made it clear that everyone learns how to do math in his or her own way and in his or her own time. When I returned from Christmas break, I thought I was finished with my tutoring sessions with the teacher, but to my surprise they were just beginning. I was still having trouble memorizing the multiplication tables, so my teacher began to keep me inside from recess. I hated this, but I never remember feeling as though I was being punished. The kindness my teacher used, and her unwavering firmness in insisting I learn these math facts, was a great support to me as I progressed through the year. Her emotional support helped to make me a

Business Policy Development and Implementation, Portfolio Project - Essay

Business Policy Development and Implementation, Portfolio Project - Team Baldwin - CAPSIM Company Evaluation - Essay Example With time when the monopoly market was split with the appearance of new entrants, the increased cost of manufacture of sensors could not be passed on to its customers. This led to the importance of managing its business performance in terms of delivering quality products at competitive price which could be seen from its four rounds of operation year over year (Reuvid, 2012). Comparison of 4 rounds of operation from the Annual Report of Team Baldwin The performance of Team Baldwin has been compared as given below from the Annual Reports available in order to see how effectively Team Baldwin has been able to manage its operation in the face of competitive market (Hutt and  Speh, 2012). A snapshot of the major performance parameters has been presented below which has been obtained from the Annual Reports year over year from Round 1 to Round 4. Key Performance Indicator Analysis – Table A Sl. No. ... 100% 122.91% 145.93% 144.96%    6 Sales 90798 116913 155053 154514 19.39%       100% 128.76% 170.77% 170.17%    7 Inventory 8617 0 -2180 -5589 -186.56%       100% 0.00% -25.30% -64.86%    8 Net Profit 45 4346 16010 16747 619.30%       100% 9657.78% 35577.78% 37215.56%    9 Accounts payable -2277 2479 1521 379 -155.01%       100% -108.87% -66.80% -16.64%    10 Accounts receivable 845 -2146 -3135 44 -62.66%       100% -253.96% -371.01% 5.21%    11 Net cash from operation 14383 13232 21578 20942 13.34%       100% 92.00% 150.02% 145.60%    N.B. Amounts are given in dollars and () represents negative value The above represent a common-size analysis on the parameters identified to be indicative for the performance of Team Baldwin over round 1 to round 4 from 2014 to 2017. The table also indicates a Compound Annual Growth Rate (CAGR) of the key performance parameters. Total market share and revenue In round 1 in the year 2014, the market share of Team B aldwin is 19.15%, in round 2 in 2015 is 21.5%, in round 3 in 2016 is 26.64% and in round 4 in 2017 is 26.24%. Thus, an increasing trend of market share of Team Baldwin can be observed with respect to its competitors in sensor manufacturing. If we look at the Income statement of Team Baldwin in the Annual reports and subsequent comparative analysis in Table-A, we would find that the total revenue or sales of the company has shown an increasing trend from round 1 (year 2014) to round 5 (year 2017). With respect to the round 1 in the year 2014, the revenue earned by Team Baldwin has increased 28.76% in round 2 (year 2015) and over 70% in round 3 (year 2016) and round 4 (year 2017). The market share of a company increases when it is successful in managing its operations and plan strategies by anticipating responses from its

Trust is the key ingredient in leadership Essay Example for Free

Trust is the key ingredient in leadership Essay This weeks Assignment consists of viewing a scenario about Sandwich Blitz, Inc. , reading an article about integrity in leadership, and writing a two-page double-spaced paper. Integrity in leadership is absolutely essential. † In today’s world more companies are looking for people with integrity to head their organizations. † It is because of the lack of integrity that financial turmoil is happening in the world today. If you have integrity you will go somewhere in life. â€Å"Grenville Kleiser said, â€Å"You are already consequence in the world if you are known as a man of strict integrity. † Without integrity no real success is possible. â€Å"Trust is the key ingredient in leadership. If you cannot engender trust, you are unlikely to find many who are interested in following your lead. They assume that you are making the right choice based on ethics and proper morals. † Sometimes integrity may be considered an old fashioned word in businesses environment. Integrity is defined among other things as â€Å" being true to one’s values. † When a leader has a set of clearly defined values that determine the actions and decisions they take. Strong leaders must be consistent. Integrity breeds consistency by providing a clear set of principles to follow. With the proper amount of integrity a leader will follow through and do what is right. When integrity is maintained, positive results don’t need to be questioned or worried over. If you want to see successful leadership in your life you need to have integrity. â€Å"Integrity is what we, do, what we say, and what we say we do†- Don Gater. â€Å"Don Gater sums it up well in a short statement. As a man of integrity, your word is your bond. Integrity is an important part of leadership. Leadership is often clear as day when witnessed firsthand, without integrity a leader may find that no one is willing to follow him.

Comparison of French and German Cinema, 1930-1945

Comparison of French and German Cinema, 1930-1945 Introduction The dissertation aims to analyse the effects of totalitarian politics on the cinematic tradition of two of Europes most cultured nations, Germany and France. The study of cinema during the time period, 19301945 is a highly relevant discussion; one which is infrequently dissected by serious academic debate largely due to the lack of literature on the subject in comparison to studies pertaining to the effects of fascism upon other implements of the state, in particular religion and the military. Perhaps film students of the West still find it difficult to comprehend the fact that the Nazis were such a long way in front of their competitors when it came to the influence of National Socialist propaganda on the German people. As early as 1928 Hitler had come to understand the fundamental power of utilising modern forms of propaganda in paving the way for tyrannical rule, as he outlines in a speech dated 28 November (1999:151). The more one addresses only one social class, the easier it becomes to make promises. One knows from the beginning what each class wants If you are always only addressing yourself to one category, then political propaganda becomes infinitely easy. Certainly, in tandem with pervasive fascist symbolism and the dissolution of democratic political debate, the saturation of all forms of contemporary media was the key factor in Hitlers total seduction of the German nation. As such, the topic is relevant for the twenty first century where dictators still maintain power over illeducated people whose information is pumped into them via state propaganda machines that feed off insecurity, prejudice and paranoia, as modernday Zimbabwe currently illustrates. The study will be split into chapters as cited on the title page with the aim of creating an advanced understanding of how the Nazis used cinema as a tool of tricking the German people into believing concepts such as Lebensraum and the Jewish Question were issues of national urgency. The study will likewise examine the role of the Vichy collaborators in the seduction of French people, citing the essential similarities and differences of the two in terms of filmic content and production techniques. Clearly, as the instigator of right wing cinema as a political tool of mass hysteria, the German model will be first to be discussed, though the point should be made straight away that the Vichy Regime was not merely coerced into collaboration: there was active and passionate interest in France in fascist ideology with plenty of Vichy statesmen wishing to follow the path set about by the Hitler State. At no point should it be believed that Vichy cinema was a symptom of the occupation; it wa s, and remains, a marker for French sociopolitical beliefs at the time. Famous and infamous films such as Jean Renoirs La Grande Illusion, Bertolt Brechts Kuhle Wampe and Marcel Carnes Les Enfants du Paradis will be featured within the dissertation, citing specific examples from the movies to highlight how dissenters managed to voice their disapproval in highly subtle fashions that were unique to the extreme fear experienced in fascist Europe at the time. Comparisons between movie production under the influence of occupation, dictatorship, peacetime and war will provide fuel for the debate within. A conclusion will be sought as to the overall features that appear uniform within right wing film making, in addition to citing the subtle differences in the experience of movie production under the spectre of totalitarianism, as witnessed in Germany and France between 1930 and 1945. Chapter One: The effect of fascism on German Culture, 19301945 The short lived Weimar Republic is a source of great fascination for students not only of history but also of art, culture and society. Its relevance is in its oddity: the strange timeframe it fits into either side of Kaiser Wilhelm II and the Nazi State, two of the most suffocating and frustrating regimes in European history in terms of creative and artistic achievement. The Weimar Republic was responsible for a brief burgeoning of liberal German film making, art, sculpture, music, theatre and culture that was the envy of the western world at the time. Perversely, the strict socioeconomic conditions of the day appeared to ensure that the Republic would be as frivolous as it was unfortunate; as daring as it was politically unstable. Yet, as Elssaesser (2000:151) suggests, Weimar cinema may also have made it easier for Hitler to cast his cinematic spell on the German people. What has become abundantly clear is that the cinema permeated Weimar society as a very contradictory cultural force, at once part of oppositional Modernist avantgardes and in the forefront of capitalisms own modernising tendencies (as technology, industry and fashion) and for this very reason, invested with the hopes of revolutionary changes while susceptible to being used as the instrument for their containment (in the form of specular seduction, nostalgia, propaganda.) Diversity was the key to Weimar Cinema; it was an expression of multicultural Europe that was unfortunately located in the wrong place and time. With the Prussian aristocracy, disillusioned exmilitary personnel and marginalised masses of unemployed, the Weimar Republic was insufficiently prepared to withstand a structured coup from within when it inevitably came. Furthermore, the liberalism of the Republic gave added ammunition to the nascent Nazi State, giving Hitler and his propaganda minister, Josef Goebbels a readymade scapegoat for the deplorable state of German infrastructure during the early part of the 1930s. Indeed, it was Goebbels (1993:159) who highlighted the condition of the German nation before the National Socialists came to power in 1933 the state of the nation according to fascist eyes. Had it not been for the National Revolution, Germany would have been completely swissified, a nation of hotel porters and waiters, a nation having no political sense whatsoever that had lost any idea of its own historical significance. The effect of a onedimensional, intensely political approach to cultural affairs meant a surgical shift in the prism through which German society charted its progress between 1918 and 1933, and 1933 to 1945. Most art and film historians see the change that occurred in German culture after 1933, with the infamous burning of the books (May 1933) and mass emigration of a wealth of indigenous creative talent, as symptomatic of authoritarianism throughout the world. Bland, repetitive instances of film making and culture took the place of innovation and the first seedlings of avantgarde technique. Aesthetics and the human form took on added significance. Heavy handed plot lines guided the viewer of both art and cinema along a straightforward journey to the ideological heart of work without trusting the audience with the even the slightest semblance of individual reasoning. These are the popular images of authoritarian art forms promulgated after the defeat of fascism in Europe. Yet it would be incorrect to assume that German film making after 1933 was merely an exercise in retrospective propaganda studies; as shall be discussed in following chapters, Goebbels was fond of puncturing all genres of movies with National Socialist ideals with the result that a kaleidoscope of imagery is available to the twenty first century film student, each portraying a different vision of the fascist dream. It should come as little surprise to students of history to see a broad similarity between movies made in Nazi Germany and Soviet Russia: both countries relied upon eradicating the opposition and portraying the leader in an invincible light. Censorship at home and at the national borders also meant that fewer foreign films were being shown; those very few that made it past the German borders having to be screened first by the Nazis in order to gain an audience inside of Germany. Furthermore, the considerable risk that a film maker ran of being arrested, taken to concentration camp or even killed because of making a statement that the Nazi hierarchy did not favour was too great for all but the most ideologically driven of artists to bear. The result was an exodus of talent from Germany and a narrowing of vision to the extent that diversity, as a description of German cinema, became a complete misnomer. Art and cinema in the Third Reich were thus reduced to an entity in support of the regime; the hand over of the baton of creativity to autocracy was assisted by the state overhaul of existing cultural ministries. As part of the broader policy of Gleischaltung (coordination) the Reich Chamber of Culture (established in November 1933) oversaw this new breed of politicised movie making and art that presented a ludicrously perfect form of the Aryan man, engaged in the typical German pursuits of sport, work and family, as Seligmann et al (2003:50) detail. Images depicted Germans not just as modern day heroes but also as the heirs to Europes greatest cultural and imperial tradition, that of Alexander the Great and Caesar. As Aryans and National Socialists were elevated to the status of hero, so the Nazis used cinema and indeed every tool of popular culture at its disposal to reenforce the slide of the enemy into the sociological abyss. Over a short period of time, the Jews took over from the Weimar Republic and the Communists as the central target of Nazi abuse as one by one the political enemies of the state were made obsolete, leaving the racial enemies of the state as the sole carriers of the burden of national pariahs. Propaganda and film would play a disconcertingly influential role in the social facilitation of the Holocaust the essential psychological background whereby a nation might be made complicit in mass, statesponsored murder. As the violence and oppression against the Jews (and against gypsies, the handicapped and homosexuals) was increased, so the state began to use film and culture as a means to making the population complicit in their racial crimes. Reichskristallnacht (89 November 1938), for example, was a stateignited campaign of hatred against Jewry that was completed by the ordinary German people, a spontaneous orgy of destruction that would have been unimaginable were it not for the driptap effect of incessant fascist film making and media saturation, as Kershaw (2000:1412) underscores. The scale and nature of the savagery, and the apparent aim of maximising degradation and humiliation, reflected the success of propaganda in demonising the figure of the Jew certainly within the organisations of the Party itself and massively enhanced the process, underway since Hitlers takeover of power, of dehumanising Jews and excluding them from German society a vital step on the way to genocide. Der Erwige Jude (The Eternal Jew), the most extreme example of film utilised as a weapon of war, was a blatant and extreme vision of the life of common Jewry; the degradation of the living condition in the Warsaw Ghettoes providing the inspiration for the movies creator, Josef Goebbels who visited the area in 1940. The film portrayed Jews as vermin, cementing the belief in the viewer (coupled with state newspaper and radio) that the Jews were not only the enemy of the state but, more importantly, subhuman. As with all aspects of Nazi Germany, the murderous end effect can only be understood by taking the gradual desensitisation of the nation into account, a phenomenon that propaganda and film were instrumental in helping to bring about. Chapter Two: Occupied France: Vichy Collaboration in Moulding the Image of Fascist Europe The French experience of film was, until the continentwide rise of fascism, much the same as in Germany even if there were also fundamental differences between the two countries that made the transition from democracy to authoritarianism a more traumatic experience for the French, one that the nation has still not fully come to terms with. To start with, France, more than any other European nation, is synonymous with high culture, art and vision, characterised as the trend setting nation for creativity throughout the western world. Via Marcel Duchamp, for example, France was home to the origination of abstract art, his sculpture, Fountain (1917) often cited as a watershed in art and visual intention in the history of the West. In addition, France had dictatorship thrust upon it in a different way to the Germans. Clearly, autocracy can only arise from it being forcibly imposed on a population, yet in Germany it was Germans taking control of their own people, whereas, after the symbolic signing of the armistice on 22 June 1940, the French were dictated to by Germany from the vantage point of a vanquished nation. Therefore, there was more a sense of cultural partition between France in the 1930s and France in the 1940s that was not the case over the Alsace border into Germany. This starting point of a nation being defeated in war has been, ultimately, the greatest stumbling block regarding a better historical comprehension of the excesses of Vichy both from within and outside of French borders: for as long as the French were willing to rewrite history to paint the picture of a demoralised people who were fundamentally opposed to the right wing ideology of National Socialism, the country would be unable to see its true reflection. However, after the accumulation of two generations of historiography, Vichy was gradually deemed to be an active collaborator in the extremism that was witnessed in French culture and politics between 1940 and 1945 rather than a government coerced into cooperation. Marshall Pà ©tain may have been little more than a puppet figurehead, but he represented a large sector of conservative France that wished to eradicate the achievements of the artistic and philosophical endeavour of the early twentieth century so as to reembrace outmod ed notions of colonial France. Indeed, the right wing bloc who made up the core of the Vichy government were sympathetic to the anti-Semitic views of the Nazis the botched military trial of Captain Alfred Dreyfus for spying in 1894 highlighting a chequered history of a country that had barely bothered to even notice its own deeply resentful views concerning the Jews. The official separation of Church and State by law in 1905 merely paid lip service to a deepseated problem of prejudice in France. Although France had changed geographically, ethnically, politically and culturally between the two decades, a certain sense of continuity is detectable in French cinema of the period, which was certainly not the case in Germany. This was due to a combination of German censorship and genuine Vichy desire to ignore the shameful effect of the Occupation. As JeanPierre Jeancolas attests in his essay on the 1945 Vichy sponsored picture, Les Enfants du Paradis (2000:78), the realism that French cinema was so famous for showed no signs of cracking after 1940. The occupation of France in 1940, the control direct or indirect of its cinema by the German forces, condemned use of the present tense. Fiction films were allowed, at best, to portray a kind of vague present day, a period which had the appearance of the present, but not its singular hardships: the cars or the costumes are of 1943, but the French are depicted in light-hearted romantic entanglements, stories that never show the daily problems of finding food, or the presence of Nazi uniforms. Mention must be made of the division in France after her capitulation in 1940. Put simply, the country was split into half via north and south, whereby Paris, Brittany and the northern shores were deemed to be part of a territory called Free France, while the southern part of the nation, including major cities such Marseilles and Bordeaux (both of which had large ethnic and Jewish communities) was placed under the control of the Vichy Government. Vichy struggled to unite the two divisions until 1943 at the earliest, a time which signalled an increase in French resistance as, after the Battle of Stalingrad (February 1943) the sense of a slow protracted capitulation in the East led to a renewed sense of optimism in the West. It is important, therefore, to recognise the difficulty in defining a singular French brand of cinema after 1940. There were noticeable anomalies in how the Germans treated the two main zones. Newsreel propaganda, for instance, was different: in the Occupied Zone, cinemas screened antiBritish German newsreels, while in the Unoccupied Zone, Vichy largely steered clear of any mention of the war of the German presence in France at all. It is likewise important to recognise that the Vichy propaganda machine was not under the same level of autocratic control as was the case in Germany. There was no allpowerful figurehead to rival Goebbels in France. Pierre Laval was the clearest comparison to him but the Deputy Prime Minister spent much of his time in Paris negotiating with the Germans. In addition, Laval believed fervently in the power of broadcast media as the fundamental tool to seduce a weary population, neglecting largely the cinema and music. Furthermore, Laval delegated control of the propaganda machine to Paul Marion after 1942, which meant a discernible lack of leadership. A comparable model to Goebbels extensive communications system cannot be found in Vichy France. However, this does not mean to say that the Vichy Government was without persuasion or an ideology of its own. Although Occupied France was under the control of Germany, Vichy was given leeway in terms of national reeducation and, as the administration grew more secure in the southern part of the country (coinciding with entire divisions of German troops leaving France to fight on the increasingly demoralising Eastern Front), so a discernibly French model of fascism was seen in all walks of life, extending quickly to the national movie community. Continuity in all areas is the chief characteristic of Vichy cinema. As beforehand, Paris remained the creative hub of wartime France; many of the cast and directors of the films of the thirties remained to star in Vichy pictures. Jean Gabin and Michele Morgan were two big name stars who fled the country, but the rest mostly remained in France and continued to work. The Germans did not permit French films to cross the demarcation line until February 1941 when it became apparent that the same stifling effect of authoritarianism was prevalent in French as well as German cinema: there was no question of antiGerman films being shown because they were not being made. As a rule, movies produced during the Vichy years were unanimously nostalgic. As in the 1930s, many of the movies of the early 1940s were scripted around the French experience of World War One, characterising the recent experiences of the nation in the form of one actor or actress. The core Vichy values of family, la patrie and duty were cited in almost every film of the period, such as La Voile Bleue (1942), an anachronistic view of rural southern France that was the biggest commercial success of the forties in France. However, as Julian Jackson (2001:3201) details and contrary to popular belief, there was not a plethora of explicit right wing propaganda present in films made on the fascist side of the Vichy watershed. Paradoxically, many themes that one might expect to have figured more prominently after 1940, almost disappeared from the screen. Before 1940, many French films contained critical portrayals of British characters; after 1940 the British are absent. Before 1940 films had frequently depicted Germans sympathetically; after 1940, despite collaboration, Germans almost disappear from the screen. In the 1930s, antagonism to foreigners had been a frequent theme; after 1940 it was less present. Most surprisingly of all, whereas hostile depictions of Jews had proliferated in the 1930s, they are almost absent after 1940 As far as feature films are concerned, if they reflect anything different from the films of the 1930s it is Vichys desperate wish to believe the outside world did not exist. If a viewer was unaware of the historical subtext of the films produced during the 1930s and 1940s in France, they would not know occupation occurred at any point. But perhaps this was precisely the point: to cover over the huge dent in national pride at having to endure occupation by pretending that it did not exist. Learning from Goebbels, Vichy would also have been aware that, regarding propaganda, less can often mean more. Chapter Three: Josef Goebbels and the Intervention of Propaganda Cinema Unlike in France where a clear line of cinematic continuity can be traced, in Germany there is little doubt that movies made pre1933 would not be funded under Nazi rule. Kuhle Wampe (1932), for instance, was a decidedly Weimar production. The film was written and coproduced by Bertolt Brecht who was known within Germany to be a left wing film maker and sympathiser, yet one who did not favour the heavyhanded film making approach, as the following excerpt (1996:138) underscores. This way of subordinating everything to a single idea, this passion for propelling the spectator along a single track where he can look neither right nor left, up nor down, is something that the new school of play righting must reject. Betraying such antiauthoritarian views, it is no surprise that Kuhle Wampe turned out to be a socialist classic, an art house production made all the more poignant due to the cusp of the historical wave upon which contemporary Germany was riding. Brechts vision of a utopian community that rejects pricefixing and imperialism has been viewed as the last independent breathe of Weimar culture the final flourish before people such as the writer left Germany forever. Films such as Kuhle Wampe, as well as The Threepenny Opera, Kameradschaft and The Blue Angel all produced between 1930 and 1932 ensured that the shift, when it inevitably came, towards the right was all the more transparent because pictures such as these simply ceased to exist in Germany after 1933. Propaganda and cinema were married in the Third Reich like never before. Deconstruction of the pluralist approach of Weimars brief democratic tradition was the first step the Nazis took in reconfiguring the German nation in their own distorted image, followed inevitably by the edification of a new mythology, built exclusively around the twin pillars of the ubiquitous power of the Fuhrer and the antiGerman predilections of the communists and international Jewry. At first, of the two, the Fuhrer Myth was the most important solidifying effect in the Nazi consolidation of power. Hitler had learnt from Mussolini the herald of Fascism according to Hugh TrevorRoper (1995:174) that a tyrant could exert sole control over a modern, industrial European country but only via eliminating all competing iconography and elevating the leader to a quasireligious status, which could only be achieved by extensive propaganda exercises. As Ian Kershaw (1998:289) explains, the all encompassing image of Hitler portrayed in banners across German cities, in schools and in cinemas throughout the nation was vital not only in securing the stability of the Nazi State but also in making a subliminal connection between himself and the traditional heroes of German history within the broader national consciousness. For Hitler himself, the Fuhrer myth was both a propaganda weapon and a central tenet of belief. His own greatness could be implicitly but unmistakably underscored by repeated reference to Bismarck, Frederick the Great and Luther. Initially, even Goebbels was taken aback by the way in which the Nazis were able to instil their extremism throughout the country. A process that should have been osmotic took place with astonishing rapidity, as the Propaganda Minister (1996:41) himself explained in April 1933. What we are now experiencing is only the transfer of our own dynamism and legality to the state. This is taking place with such breathtaking speed that one scarcely has any time to call his own. Goebbels considered himself to be a man of culture and the filmmakers that he most admired did not come from the right wing stock that one would naturally associate with the Propaganda Minister. For example, Goebbels was a big fan of American cinema and he privately thought that the film making industry in the United States was far ahead of German production to that point. One of his favourite movies, although he denounced it in public, was Gone with the Wind, and he was likewise a great fan of the icon of Soviet propagandist cinema, Eisensteins Battleship Potemkin. Within the broader sphere of German film making during the period 1935 to 1945, Goebbels was the most important man in the country. All of the guidelines pertaining to film production in the postsilent era were rewritten after the Nazis seized power. As ever, culture and film became officially politicised and, as a by-product of Gleischaltung, the movie production apparatus fell into the hands of the Reich Ministry for Popular Enlightenment and Propaganda. Therefore, without Goebbels patronage a film would never make it past the level of script. His control was absolute, even extending to the question of financing production. Whereas under the Weimar Republic censorship and rating were separate bodies, the Nazis held onto both principles offering a tax rebate for positive film ratings, thus exerting considerable financial pressure on production companies that persisted in making unsatisfactory films. Reuth (1993:1945), in his rich biography of Goebbels, details the full extent of his control over movie making in Germany during this period, a description of a cultural power more potent than any available to the leader of each of the German Armed Forces. He had lists prepared of his favourite actors, as well as of Hitlers. He also kept close track of upandcoming talent, which he insisted on seeing for himself producers also depended on Goebbels favour, for he had created a comprehensive apparatus that allowed him to intervene in all phases of film production. The film department in the Propaganda Ministry, whose director Ernst Seeger served simultaneously as head of the office of film standards, oversaw production planning. All screenplays were examined for appropriate artistic and intellectual attitudes He [Goebbels] read film scripts almost every evening, and not infrequently revised them according to his own notions, using a green ministers pencil that became infamous among directors. Only after he had approved a project could the Film Credit Bank respond to a request for financing. Goebbels would even intervene in the shooting, often dropping in on studio, checking the rushes, and rating the finished product. From October 1935 on , he alone determined which films would be banned. Goebbels was the first head of communications anywhere in the autocratic world to understand the power of cinema in seducing a country; combined with his absolute control over all areas of broadcasting, films would see to it that Germans saw no other image of themselves apart from the vision in his mind for over ten years. However, this is not to state that films made in Germany during this period ought to be dismissed as wasteful propaganda, good for nothing but a lens through which to view National Socialist ideals. As will become apparent, a great many German productions of this time were goodhumoured, light hearted affairs that do not conform to the preconceived notion of a nation forced to watch endless versions of Der Erwige Jude and similarly dark depictions of dictatorship. Although many films were made that were instantly recognisable as party political broadcasts, such as Patrioten (1937), there were likewise others that provided a more panoramic view of Germanys splintered cultural psyche during the Third Reich. The following two chapters will examine two polar opposites of Third Reich cinema Heimatfilme and Exilfilme two bookends of the typically Nazi notion of home and abroad. As always when revisiting the ideology of National Socialism, there was very little room for any grey area in between extremes Chapter Four: Heimatfilme 47.8 per cent of the films produced during the Third Reich were comedies, 27 per cent were problem films, 11.2 per cent were adventure stories and only 14 per cent were considered outright propaganda films (Reuth, 1993:283). One of the most cherished German films of all time, Die Feuerzangenbowle (1944) was made during the darkest most desperate days of the war when all but the most closeted and narrow minded of Nazis could see that the war was never going to end in a German victory. The story, involving a mature student who never got to enjoy the hilarity of public school, could not have been, aesthetically and emotionally, further away from the politics of the time. But that was the point all along. By manipulating the mood of the audience, the Nazi propaganda state could change focus as and when external events demanded it. Die Feuerzangenbowle, for instance, might never have been produced if it was created during the honeymoon period of the early years of the dictatorship. Clearly, propaganda can be inserted into a storyline via more subtle camera and plot techniques and this is how Goebbels set about reenforcing core ideals into the German film loving audience. According to Reuth (1993:284), Goebbels and the Nazi propaganda machine preferred a more pervasive approach to political persuasion, especially concerning the most important issue of armed conflict on two fronts. Goebbels saw to it that the war, which became the main theme in films from 1939 on, was linked to the most varied genres, so as to make indoctrination of the audience imperceptible and keep the medium of film attractive. As he expected of all his propaganda ideally, so too in film, one and the same message was to be conveyed over and over again under constantly varied aspects. Of all the creative, cinematic options open to Goebbels, the most popular genre favoured by the Nazi hierarchy was the Heimatfilme, a uniquely German cinematic experience that played on the national obsession with the homeland. Apart from Austria, no other European country has the same nostalgic disposition towards artistic portrayal of the homeland quite like Germany. Because the nation was only unified after the FrancoPrussian War in 1871, successive generations of German film makers consistently looked back to the patriarchal preindustrial period inciting dreamy landscapes and a simple way of life to try to evoke the sense of longing the displaced German people of the countryside may have felt before unification. Manuala Von Papen (1999:12) highlights the reasons why Heimatfilme appealed to the Nazi leadership. This seems to be a genre virtually exclusive to the German-speaking countries and therefore untranslatable. Heimat means home, but also much more than that; it also stands for the entirety of ones cultural, social, ethical and historical heritage and provides an individual, a group of a whole nation with their identity, their Heimatgefà ¼hl. Clearly, the notions of volk (people) and heimat (home) were central concepts to the longevity of National Socialism. By combining the two, Heimatfilme leant the Nazis the opportunity to pander to the broader European taste for nostalgia as well as reenforcing the belief that Hitler was the true defender of German interests abroad. In a revolutionary move in light of the despotism of the regime, the Third Reich severed the equation of dictatorship with brainwashing propaga

The Euro :: essays research papers

The Euro has proven to have many advantages for the European Union, putting them on the path for political solidarity. With the Euro comes the elimination of exchange-rate fluctuations, making the fluctuations of currency values across Europe â€Å"a thing of the past†. Price transparency is another advantage of the Euro, which makes it easier to tell if the price of a product in one country is different than the price of the same product in another country. This encourages competition between countries, mobilizing economies to grow and compete with each other in different markets. Transaction costs become much less of a burden to tourists and business people alike when they do not have to constantly exchange their currency from another country when traveling within the European Union. This saves both time and money, which encourages more travel between countries for tourists and business men/women. All of the advantages mentioned so far contribute to the increased trade across borders also. Again, this boosts the economy of the countries within the European Union. With the European Union and it’s currency, the Euro, there is an increased cross-border employment. Businesses are more likely to employ and conduct business across different countries with the introduction of one currency. This means a person could work across the border in another country since the same currency is paid to employees across the European Union. There is an increase in the financial market stability with the introduction of the Euro across many countries as well. One currency means more stability across Europe and the members of the European Union. Inflation rates are decreased, as are the interest rates, to promote the growth of markets in these developing countries. Countries that wanted to become a part of the European Union had to shape up their economies, encouraging a growth in their marke ts, to keep up with the requirements of being a part of the European Union.   Ã‚  Ã‚  Ã‚  Ã‚  The Euro’s position relative to the U.S. dollar and the potential political and economic consequences in relations between the U.S. and the European Union are very important topics when discussing trade between these nations. First, the Euro is worth 135% of one U.S. dollar. This should make it clear that we have to focus on exporting more of our goods to the European Union and its members rather than buying (importing) more of their goods during this time.

Treasure Island :: Free Essays Online

Treasure Island Robert Louis Stevenson was born on November 13, 1850 in Edinburgh, Scotland. He was the only child of Thomas Stevenson and Margaret Isabella Balfour. Stevenson's father belonged to a family of engineers who were responsible for many of sea lighthouses built around the coast of Scotland. His mother, Margaret, came from a family of church ministers and lawyers. Due to his father's distinguished career, it was naturally believed that Stevenson would follow in his father's footsteps, just as other family members had accomplished through the generations. Surprisingly found, writing would be his natural calling. At age two, Stevenson caught what is known as the croup, which is an inflammatory disease of the larynx and trachea. As a young child, Stevenson was plagued with illnesses, just as his mother. It was originally believed that Stevenson might have inherited tuberculosis from his mother Margaret. It is somewhat ironic that the actual cause of his premature death was due to a cerebral hemorrhage just as his father apparently died due to thrombosis, or the clotting of his blood. Unfortunately, Stevenson’s health was continually questionable throughout his lifetime. In 1867, Stevenson entered Edinburgh University and initially began to work towards a Science degree. He later switched to Civil Engineering to appease his father and spent some time working in the field. His interest in writing began at an early age but his father hoped to convince Stevenson that it was a great hobby because his father had aspirations of him carrying on with the family tradition and become a civil engineer. Coincidentally, while Stevenson was vacationing on an island named Earraid, he met a stonemason, who at the time was working on a lighthouse, named John Silver. This name will eventually be used and well known in his famous novel, Treasure Island. The summer of 1881 proved to be a turning point in Stevenson's career. Shortly after his marriage to Fanny Osbourne, Stevenson would begin a novel, which would mark the beginning of his career. Due to inclement weather and Stevenson’s questionable health, the family spent an increased amount of time indoors. On one particular day, Stevenson and his stepson Lloyd drew and labeled a map, which would eventually be the inspiration for Treasure Island. The map triggered Stevenson's imagination and he began by writing a chapter a day, a total of nineteen, and read the chapters aloud nightly to his family for entertainment.

Issues Concerning African Americans and Puerto Ricans Essay

There are four major ethnic, cultural and racial groups present in the United States today. These groups which compose the nation’s population are the African Americans, Asian Americans, Hispanic and Native Americans or the Non-Hispanic Whites. From the dawn of time, issues of racial profiling have haunted the American Society, although United States of America is said to be the birthplace of patriotism unity and believed to be a nation that will adhere to intense dedication to freedom, justice and equality (Feagin, 1978). The vast diversity of the American population which characterizes the nation’s inhabitants has often resulted to disorder and chaos, as discrimination exists across the nation. Although the government has taken some actions and laws have been made and are implemented, they are not enough to counteract the racism problem at hand which is deeply rooted in the American tradition, as a longer time may deemed necessary before the public become accustomed to a racial free society. If the authorities are keen on abolishing and eliminate racial discrimination, it then important that they see to it that the public would have a better understanding and background of the different ethnic and minority groups. Awareness to their values, customs and traditions are small little steps that may eventually lead to these groups coexistence. For this reason, the paper discusses two of the major groups that play important roles in shaping the United States social structure, the African Americans and the Puerto Ricans. The emergence of Africans Americans or the black Americans population, which are United States residents but with blood lineage from the black racial group of Africa, in the United States can be traced back way before 1800’s as majority of black Americans have their descendants in the United States. While White Americans came to the United States voluntarily, their Black counterparts were not given a choice as majority of the black population came in America as slaves (Feagin, 1978). It is noting to know that among the different ethnics group that come and settled in the United States, African Americans are the only group which have come not in accordance with their own free will. They were used as servants in large agricultural fields. It was believed that the first African American that had entered the borders of the United States settled in Jamestown. Their slavery and the hard labors they performed served as their free passage to the United States as they are compared to English poor people. However during the great American Civil War, by virtue of the proclamation signed by President Abraham Lincoln, the Emancipation Proclamation, African Americans became free. But then the post war era, the restoration period, calls for the segregation of blacks from the whites and deteriorates what was supposed to be period of new beginning for the blacks.. In order to free themselves of troubles and violence brought by discrimination, most Black Americans followed the law which dictates racial segregation. However, as violence related to racial discrimination became widespread, calls for abolishing the racial profiling laws also intensify as growing African American heritage and intellect became more evident. The era of civil rights movement which aimed to promote camaraderie and embed equality by eliminating racial discrimination help largely to the Black Americans cause of seeking dignity for their culture and race. Thus, when the Black Power Propaganda was formed a more complex ideology was born as African American seeks for moral dignity, fairness, justice and freedom from white oppression. Today, free from slavery and contributing vastly to economics and politics and enjoying a legal status, Black Americans have enjoyed a great deal of success as they experienced and enjoyed greater rights, far from what were their ancestors have before. However, complete satisfaction and recognition of their rights will have to wait for another few years as white people and custom is still the dominant culture in the United States. The radical change, however, which started from the nineteenth century are strong indications and evidence of the emerging power the African Americans are obtaining. African Americans now have greater access top higher educations and growth in employment as blue and white collar workers are also evident. Disparity between the poverty of black and people have also reduced and many black Americans now have there owned home. However, the sad part is although continuous improvements are achieved each day, black Americans are still at disadvantage with the white people. It can be observed in issues regarding health insurances and benefits and institutional racism, which is very much present especially in middle school’s class. In fact, a report in Rutherford country showed that massive complaints of racial discriminations are filed as parents are alarmed with the growing numbers of black students that are suspended. Compare to their white counterparts, black students continue to be suspended at much higher rates, raising the question of racial discrimination in imposing discipline among the students. In 2006 for instance, 14. 4 % of black students were suspended in the district, which causes a handful of students to lag behind their studies (Scott, 2007). On the other hand rate of suspension for white students stand at 6. 6% (Scott, 2007). Figures and numbers indicate that the rates at which black students are suspended are more than double of the rate at which whites are. This then has poses an alarmed to the black population as their children are put into a disadvantage situation. Just like the African Americans, Puerto Ricans suffer a great deal of oppression and poverty as they occupy the bottom most part of the United States’ social hierarchy for years (Feagin, 1978). They are considered as one of the world’s poorest groups, however, Puerto Rico posses a great link to the Caribbean world and the developing counties across the globe, which the United States social failed to utilize for their own advantage as it failed to realize its importance to the nation. The emergence of the Puerto Rican Ethnic group dates back to the time when the island which was then named as Borinquen, was a colony under the rule of Spain. For 400 years, Spain uses it as a strategic base. The island was a home for different tribes of Taino, however as the Spanish settle with in the island, population of the Indian tribes gradually diminished as generations passed by. Disappearance was due to the fact that Spain used them for forced labor in mines -which causes natives to acquire disease, massive exterminations and racial intermingling and merging. During that time, where in slavery was widespread, large number of African Americans was brought to Puerto to replace the natives as workers. Thus, the present genetic component of a modern Puerto Rican is a mix of Spanish, native Indians and African American. In 1898, as Spain succumb to American power during the Spanish-American War it surrendered Puerto Rico to the United States. Americans deemed Puerto Ricans as ignorant and as result, self governing was denied to them and Puerto Rico become entirely dependent to the US government. Puerto Ricans were left confused politically and culturally as they desperately ask matters about the issue of their citizenship. US Congress however, denied them of acquiring US citizenship relating that Puerto Ricans and Americans should not be treated as equal and they are inferior compare to them. But a year before the US plunged into the World War I, it granted Puerto Ricans US citizenship. With the booming population and stagnant economics, Puerto Rico became one of the poorest countries around the globe in the 1940’s. In an effort to escape the harsh reality of life in the island, many of the population migrated to the United States, bringing with them the hope and the promise of an American Dream. However, the situation would not be different, as immigrants would fail to land jobs and are exploited. Furthermore, housings were prioritized for Native Americans. Language handicapped was also a barrier, which leads to them being discriminated. Puerto Ricans are also identified with Catholicism and Christianity which is teaching based from Spanish colonial times, and since the structure of the American church is Protestant, conflicts often arise. Businessmen of Puerto Rico descends, would often complain of the difficulty in getting loans. With automation starting to engulf the business and industrial sections, Puerto Ricans further sink to the bottom of the social pyramid as they become more isolated, like the black people. There were no opportunities that were presented for them as they lack the skills to land jobs. But then came the era of being unrest, the emergence of Civil Rights Movement and Anti-Poverty Groups in the 1960’s helped Puerto Ricans stimulate and assimilate into the American society, culture and politics (Nash, 2000). The movement and program covers every Puerto Rican and led to astounding solutions to the problems that result from ethnics and cultural differences and inconsistencies which are related to the failure to be in accordance with the dominant American Culture. The emergence of theses groups had opened the eyes of the Puerto Rican public to seek for fair and just treatment and uphold their dignity. Although they have been successful in appealing for changes, after decades of struggling for political representation, culture and customs respect and their placed into the American Society, Puerto Ricans are today just slowly beginning to achieve and realize the progress and results. Whether it is questions about citizenship status, welfare and housing programs, bilingual and multi-cultural education or electoral power, Puerto Ricans had stood the test of time and has proven it is capable of complex assimilation to the dominant American society. However for Puerto Ricans and other ethnic minorities and racial group in America, being subordinate to the dominant American culture is a continued struggle as still they are treated unjustly. References Feagin. J. (1978) Racial and Ethnic Relations. Englewood Cliffs, NJ Prentice-Hall. p. 212, p. 298 Scott, B. (2007). Daily Race Colors Suspensions. News Journal Murfreesboro. Nash, K. (2000). Contemporary Political Sociology: Globalization, Politics, and Power. Blackwell Publishers.

JPMorgan Chase Paper Essay

In the summer of 2012, JPMorgan Chase, the largest leading U. S. bank, announced trading losses from investment decisions made by its Chief Investment Office (CIO) of $5. 8 billion. The Securities and Exchange Commission (SEC) was provided falsified first quarter reports that hidden this massive loss. Discuss how administrative agencies like the Securities and Exchange Commission (SEC) or the Commodities Futures Trading Commission (CFTC) take action in order to be effective in preventing high-risk gambles in securities / banking, a foundation of the economy. In the summer of 2012, JPMorgan Chase, the largest leading U. S. bank, make known trading losses from investment verdict made by its Chief Investment Office (CIO) of $5. 8 billion. The Securities and Exchange Commission (SEC) was provided falsified first quarter reports that concealed this enormous loss. The duty of the U. S. Securities and Exchange Commission is to protect investors, uphold fair, organize, and efficient markets, and facilitate capital formation. Obligatory public companies to disclose meaningful financial information to the public is an effective move toward the SEC takes in order to assure the securities of this nation (U. S. Securities and Exchange Commission). These assist investors prevent high-risk gambles and allows them to make the right decisions when deciding on which companies to invest in. The Commodity Future Trading Commission regulates the product futures and options markets. Its target includes the promotion of competitive and efficient futures markets and the protection of investors against manipulation, abusive trade scheme and fraud (U. S. Securities and Exchange Commission). Both the SEC and the CFTC played a role in investigating the massive trading losses in the case of JPMorgan Chase. The SEC’s investigation could only focus on the suitability and completeness of JPMorgan Chase financial reporting and other public disclosures. However; SEC Chairman Mary Schapiro stated that her agency’s investigation is limited, because the trades happened in divisions of the banking giant that aren’t subject to SEC regulation (CNN Money). The leader of CFTC, Gary Gensler, give an opinion that â€Å"JPMorgan’s losses are worth looking into, because as a U. S. bank, it is an entity with direct admission to the Federal Reserve’s discount window and federal deposit insurance† (CNN Money). Determine the elements of a valid contract, and discuss how consumers and banks each have a duty of good faith and fair dealing in the banking relationship. A contract is a legally obligatory promise or set of promises (Bagley, C. 2013). If this promise is broken, either party involved can be legally responsible and take the other party to court. There are four basic elements in the creation of a valid contract. The first consist of an agreement between the parties involved, by an presented offer and acceptance. The second states that the parties’ promises must be supported by something of worth, known as consideration. The third advises both parties must have the ability to enter into a contract. The fourth element states the contract must have a legal purpose (Bagley, C 2013). The duty of good faith and good dealing is implied in every contract. In recent years the mortgage industry has been seen as a prime example of how consumers and banks need to better understand and adhere to duty of good faith and good dealings. Consumers had the responsibility of understanding the contracts involved in borrowing the money needed for their homes. Banks had the responsibility of knowing who they should lend money to, and the conditions of the rates involved on the loans provided. Relationships between banks and consumers could have been avoided if the duty of good faith and good dealing was implemented on contracts granted between the banks and consumers. Compare and contrast the differences between intentional and negligent tort actions A tort is a body of rights, and obligations that is applied by courts in civil proceedings to provide relief for persons who have suffered harm. Tort means civil wrong resulting in injury to a person or property (Bagley, C. 2013). An intentional tort action is when there is intent to cause harm to a person or property . Intentional torts include things like assault and battery, slander, false imprisonment, libel, and intentional infliction of emotional distress. These torts are often, but not always, the case that an intentional tort is also a criminal act (Bagley, C. 2013). A negligent tort action is when a person is careless to his or her own actions and did not intend to cause harm to a person or property. Even though that person is negligent, he or she is still held legally responsible because of their careless actions. To illustrate the difference between negligence and an intentional tort, let’s look at an example with two different scenarios. The plaintiff is a woman named Ramona, and in both cases, she is suing because of a broken leg. state of affair #1: Ramona is walking down the aisle of Wal-Mart store when she slips and falls on a puddle of cooking oils. The owner of the store was negligent for not cleaning up the spill. Even though the store owner did not intend for Ramona to get hurt, he is still liable for her broken led because his negligence lead to her injury. Scenario #2: Molly is walking to her car when she is assaulted by a man who wants to steal her wallet. The assailant shoves her to the ground, and she breaks her wrist as a result of the attack. The police later catch the assailant, and Molly sues him for her injuries. In both cases the end result is the same; Ramona end up with a broken leg. Both defendants can be held liable for Ramona injuries, but for different reasons. The store owner is liable because he failed to clean up the spilled of oils, which a reasonable person would have done. The assaulter is liable because they intentionally caused harm to Molly by pushing her. Discuss the tort action of â€Å"Interference with Contractual Relations and Participating in a Breach of Fiduciary duty† and, if the bank you’ve chosen were to behave as JP Morgan did, would you be able to prevail in such a tort action. The interference with contractual relations defends the right to enjoy the benefits of legally binding agreements (Bagley, C 2013). The existence of a contract at the time of the assumed interference is what separates tortuous interference with contract from the more complicated to establish tortuous interference with prospective contractual relations. If good grounds exist for the interference, such as the case with JP Morgan, then the defendant would not be liable. With the advent of mobile banking, discuss how banks have protected the software that allows for online transaction to occur through automation. The majority banks inform consumers that they are protected by the Online Banking Security Guarantee, which covers the security of your information and bank accounts. Banks hold a liability of making sure the consumers security is protected, and if dishonored most banks will guarantee up to a 100 percent against theft of your funds from online banking services. While many worry about online banking, there’s good news that mobile banking is to some extent secure just for the reason that there are so numerous variations of banking apps and methods in the market. A thief has no way of predicting which technique a possible victim might use. Cited Work U. S. Commodity Futures Trading Commission. (n. d. ). Retrieved March 1, 2013, from U. S. Commodity Futures Trading Commission: http://www. cftc. gov/index. htm CNN Money (n. d. ). Retrieved March 1, 2013, from http://money. cnn. com/2012/05/22/news/economy/jp-morgan-senate/index. htm U. S. Securities and Exchange Commission. (n. d. ). Retrieved March 1, 2013, from U. S. Securities and Exchange Commission: http://www. sec. gov/ Bagley, C. (2013). Managers and the Legal Environment: Strategies for the 21st Century, 7th Edition. Mason: South-Western, Cengage Learning.

Peter Weir’s film ‘Dead Poets Society’ Essay

One of the major themes/ideas explored in the Dead Poets Society is that of freedom versus conformity. The theme of conformity is introduced in the very opening scenes of the film. Close-ups of the boys chanting in unison, all identically clad in their starched uniforms at a ceremony at Welton Academy, we see that they are conforming to the authority of the school. It is the new teacher Mr Keating who, through his unorthodox methods, encourages the boys to challenge this authority, and break free from the traditional, conservative ways of thinking that have been drilled into them at Welton Academy. He wants them to understand that there is more to life than obeying the orders of others, and in this way the film deals with Weir’s common theme – also explored in Witness and Gallipoli – the quest for personal freedom, and the oppressing effects of society’s institutions. He inspires them to â€Å"Maintain thoughts and beliefs in the face of conformity.† Keating wants them to become â€Å"free-thinkers†, but he is in a way contradicting himself as he forces his own beliefs and philosophy onto the impressionable students rather than letting them think for themselves. This theme of conformity is paralleled on a personal level in Neil’s relationship with his father. Mr. Perry wants the best possible future for his son, and therefore has almost impossible expectations of him. Neil, on the other hand, while always obedient to his father’s wishes, wants to know more about himself. Acting was something that Neil discovered he was not only good at and enjoyed, but was also in a sense an escape from his present reality as it allowed him to pretend to be someone else for a while. Mr Keating’s â€Å"carpe diem† (â€Å"seize the day†) attitude inspired Neil to disobey his father’s wishes by secretly starring in the school play. Neil’s challenging of his father’s authority had devastating consequences, as after a particularly vehement confrontation with him, finally Neil came to believe that the only way to obtain freedom was to take his own life. This final act of non-conformity was not something Mr. Keating would have advocated, but was Neil’s ultimate and desperate defiance towards his father, and a tragic  expression of his independence.

Free Essays on Nations Voting Procedures

The article that I chose for my current events paper came from The New York Times, on September 6, 2002. The title of the article is â€Å"Bill to Overhaul System of Voting Is Seen in Danger†. It was written by Bill Pear. â€Å"Efforts to pass a bill that would clean up the nation’s voting procedures were falling apart as Partisan disagreements grew with the approach of fall elections.† Bipartisan majorities of the House and the Senate voted for different versions of the Legislation, intended to prevent ballot disputes. Among other things, the bills would provide money to help states buy new voting machines. The version of the bill supported by Republicans would establish identification requirements for first time voters who registered by mail. Such voters would have to present a photo identification such as a Driver’s License or a Social Security card before being permitted to vote. Democrats supported a version of the bill requiring only a signature on a form at the polls. Democrats said proposed requirements by Republicans could discourage participation by blacks and Hispanic Americans. Both versions of the bill would require states to maintain computerized lists of registered voters. Also, voters would have to have a way to verify selections, change their ballots and to correct errors, and voting places must be accessible to people with disabilities. Republicans and Democrats disagree greatly over how to enforce new standards. Republicans would like the responsibility to lie solely with the Justice Department, while Democrats want individuals and civil rights groups to be able to file suits to halt violations. It is a scary thought that our government can’t agree on a simple issue such as voting. This is the kind of rhetoric that creates distrust of the government. If I go to Wal-Mart and purchase an oil change, I am handed a portable computer on which I choose the type of oil I would like, additions to the service, and I us... Free Essays on Nation's Voting Procedures Free Essays on Nation's Voting Procedures The article that I chose for my current events paper came from The New York Times, on September 6, 2002. The title of the article is â€Å"Bill to Overhaul System of Voting Is Seen in Danger†. It was written by Bill Pear. â€Å"Efforts to pass a bill that would clean up the nation’s voting procedures were falling apart as Partisan disagreements grew with the approach of fall elections.† Bipartisan majorities of the House and the Senate voted for different versions of the Legislation, intended to prevent ballot disputes. Among other things, the bills would provide money to help states buy new voting machines. The version of the bill supported by Republicans would establish identification requirements for first time voters who registered by mail. Such voters would have to present a photo identification such as a Driver’s License or a Social Security card before being permitted to vote. Democrats supported a version of the bill requiring only a signature on a form at the polls. Democrats said proposed requirements by Republicans could discourage participation by blacks and Hispanic Americans. Both versions of the bill would require states to maintain computerized lists of registered voters. Also, voters would have to have a way to verify selections, change their ballots and to correct errors, and voting places must be accessible to people with disabilities. Republicans and Democrats disagree greatly over how to enforce new standards. Republicans would like the responsibility to lie solely with the Justice Department, while Democrats want individuals and civil rights groups to be able to file suits to halt violations. It is a scary thought that our government can’t agree on a simple issue such as voting. This is the kind of rhetoric that creates distrust of the government. If I go to Wal-Mart and purchase an oil change, I am handed a portable computer on which I choose the type of oil I would like, additions to the service, and I us...

Magical Realism - Definition and Examples

Magical Realism s Magical realism, or magic realism, is an approach to literature that weaves fantasy and myth into everyday life. What’s real? What’s imaginary? In the world of magical realism, the ordinary becomes extraordinary and the magical becomes commonplace. Also known as â€Å"marvelous realism,† or â€Å"fantastic realism,†Ã‚  magical realism is not a style or a genre so much as a way of questioning the nature of reality. In books, stories, poetry, plays, and film, factual narrative and far-flung fantasies combine to reveal insights about society and human nature. The term magic realism is also associated with realistic and figurative artworks  -   paintings, drawings, and sculpture  -   that suggest hidden meanings. Lifelike images, such as the Frida Kahlo portrait shown above, take on an air of mystery and enchantment. Strangeness Infused Into Stories There’s nothing new about infusing strangeness into stories about otherwise ordinary people. Scholars have identified elements of magical realism in Emily Brontà «s passionate, haunted Heathcliff (Wuthering Heights) and Franz Kafka’s unfortunate Gregor, who turns into a giant insect (The Metamorphosis). However, the expression â€Å"magical realism† grew out of specific artistic and literary movements that emerged during the mid-20th century. Art From a Variety of Traditions In 1925, critic Franz Roh (1890-1965) coined the term Magischer Realismus (Magic Realism) to describe the work of German artists who depicted routine subjects with eerie detachment. By the 1940s and 1950s, critics and scholars were applying the label to art from a variety of traditions. The enormous floral paintings by Georgia OKeeffe (1887-1986), the psychological self-portraits of Frida Kahlo (1907-1954), and the brooding urban scenes by Edward Hopper (1882-1967) all fall within the realm of magic realism. A Separate Movement in Literature In literature, magical realism evolved as a separate movement, apart from the quietly mysterious magic realism of visual artists. Cuban writer Alejo Carpentier (1904-1980) introduced the concept of â€Å"lo real maravilloso (the marvelous real) when he published his 1949 essay â€Å"On the Marvelous Real in Spanish America.† Carpentier believed that Latin America, with its dramatic history and geography, took on an aura of the fantastic in the eyes of the world. In 1955, literary critic Angel Flores (1900-1992) adopted the term magical realism (as opposed to magic realism) to describe the writings of Latin American authors who transformed â€Å"the common and the every day into the awesome and the unreal.   Latin American Magic Realism According to Flores, magical realism began with a 1935 story by Argentine writer Jorge Luà ­s Borges (1899-1986). Other critics have credited different writers for launching the movement. However, Borges certainly helped lay the groundwork for Latin American magical realism, which was seen as unique and distinct from the work of European writers like Kafka. Other Hispanic authors from this tradition include Isabel Allende, Miguel ngel Asturias, Laura Esquivel, Elena Garro, Rà ³mulo Gallegos, Gabriel Garcà ­a Mrquez, and Juan Rulfo. Extraordinary Circumstances Were Expected Surrealism runs through the streets, Gabriel Garcà ­a Mrquez (1927-2014) said in an interview with The Atlantic. Garcà ­a Mrquez shunned the term â€Å"magical realism† because he believed that extraordinary circumstances were an expected part of South American life in his native Columbia. To sample his magical-but-real writing, begin with â€Å"A Very Old Man with Enormous Wings and â€Å"The Handsomest Drowned Man in the World.† An International Trend Today, magical realism is viewed as an international trend, finding expression in many countries and cultures. Book reviewers, booksellers, literary agents, publicists, and authors themselves have embraced the label as a way to describe works that infuse realistic scenes with fantasy and legend. Elements of magical realism can be found in writings by Kate Atkinson, Italo Calvino, Angela Carter, Neil Gaiman, Gà ¼nter Grass, Mark Helprin, Alice Hoffman, Abe Kobo, Haruki Murakami, Toni Morrison, Salman Rushdie, Derek Walcott, and countless other authors around the world. 6 Key Characteristics of Magical Realism It’s easy to confuse magical realism with similar forms of imaginative writing. However, fairy tales are not magical realism. Neither are horror stories, ghost stories, science fiction, dystopian fiction, paranormal fiction, absurdist literature, and sword and sorcery fantasy. To fall within the tradition of magical realism, the writing must have most, if not all, of these six characteristics: 1. Situations and Events That Defy Logic: In Laura Esquivel’s lighthearted novel Like Water for Chocolate, a woman forbidden to marry pours magic into food. In Beloved, American author Toni Morrison spins a darker tale: An escaped slave moves into a house haunted by the ghost of an infant who died long ago. These stories are very different, yet both are set in a world where truly anything can happen. 2. Myths and Legends: Much of the strangeness in magic realism derives from folklore, religious parables, allegories, and superstitions. An abiku  -   a West African spirit child  -   narrates The Famished Road by Ben Okri. Often, legends from divergent places and times are juxtaposed to create startling anachronisms and dense, complex stories. In A Man Was Going Down The Road, Georgian author Otar Chiladze merges an ancient Greek myth with the devastating events and tumultuous history of his Eurasian homeland near the Black Sea. 3. Historic Context and Societal Concerns: Real-world political events and social movements entwine with fantasy to explore issues such as racism, sexism, intolerance, and other human failings. Midnight’s Children by Salman Rushdie is the saga of a man born at the moment of India’s independence. Rushdie’s character is telepathically linked with a thousand magical children born at the same hour and his life mirrors key events of his country. 4. Distorted Time and Sequence: In magical realism, characters may move backward, leap forward, or zigzag between the past and the future. Notice how Gabriel Garcà ­a Mrquez treats time in his 1967 novel, Cien Aà ±os de Soledad (One Hundred Years of Solitude). Sudden shifts in narrative and the omnipresence of ghosts and premonitions leave the reader with the sense that events cycle through an endless loop. 5. Real-World Settings: Magic realism is not about space explorers or wizards; Star Wars and Harry Potter are not examples of the approach. Writing for The Telegraph, Salman Rushdie noted that â€Å"the magic in magic realism has deep roots in the real.† Despite the extraordinary events in their lives, the characters are ordinary people who live in recognizable places. 6. Matter-of-Fact Tone: The most characteristic feature of magical realism is the dispassionate narrative voice. Bizarre events are described in an offhand manner. Characters do not question the surreal situations they find themselves in. For example, in the short book Our Lives Became Unmanageable, a narrator plays down the drama of her husbands vanishing: â€Å"†¦the Gifford who stood before me, palms outstretched, was no more than a ripple in the atmosphere, a mirage in a gray suit and striped silk tie, and when I reached again, the suit evaporated, leaving only the purple sheen of his lungs and the pink, pulsing thing Id mistaken for a rose. It was, of course, only his heart.† Dont Put It in a Box Literature, like visual art, doesn’t always fit into a tidy box. When Nobel Laureate Kazuo Ishiguro published The Buried Giant, book reviewers scrambled to identify the genre. The story appears to be a fantasy because it unfolds in a world of dragons and ogres. However, the narration is dispassionate and the fairy tale elements are understated: â€Å"But such monsters were not cause for astonishment†¦there was so much else to worry about.† Is The Buried Giant pure fantasy, or has Ishiguro entered the realm of magical realism? Perhaps books like this belong in genres all their own. Sources Arana, Marie. Review: Kazuo Ishiguros The Buried Giant defies easy categorization. The Washington Post, February 24, 2015.   Craven, Jackie. Our Lives Became Unmanageable. The Omnidawn Fabulist Fiction Prize, Paperback, Omnidawn, October 4, 2016. Fetters. Ashley. The Origins of Gabriel Garcia Marquezs Magic Realism. The Atlantic, April 17, 2014. Flores, Angel. Magical Realism in Spanish American Fiction. Hispania, Vol. 38, No. 2, American Association of Teachers of Spanish and Portuguese, JSTOR, May 1955. Ishiguro, Kazuo. The Buried Giant. Vintage International, Paperback, Reprint edition, Vintage, January 5, 2016. Leal, Luis. Magical Realism in Spanish American Literature. Lois Parkinson Zamora (Editor), Wendy B. Faris, Duke University Press, January 1995. McKinlay, Amanda Ellen. Block magic : categorization, creation, and influence of Francesca Lia Block’s Enchanted America. UBC Theses and Dissertations, The University of British Columbia, 2004. Morrison, Rusty. Paraspheres: Extending Beyond the Spheres of Literary and Genre Fiction: Fabulist and New Wave Fabulist Stories. Paperback, Omnidawn Publishing, June 1, 1967. Rà ­os, Alberto. Magical Realism: Definitions. Arizona State University, May 23, 2002, Tempe, AZ. Rushdie, Salman. Salman Rushdie on Gabriel Garcà ­a Mrquez: His world was mine. The Telegraph, April 25, 2014. Wechsler, Jeffrey. Magic Realism: Defining the Indefinite. Art Journal. Vol. 45, No. 4, The Visionary Impulse: An American Tendency, CAA, JSTOR, 1985.