Race and Crash Essay Example for Free

Race and Crash Essay The writer of Crash shows racism, prejudice, discrimination, and attitudes of different ethnic groups in the movie. Crash shows societies racial-discrimination through schemas on how stereotypes and the primary effect influence the characters, and their processes of social perception. Paul Haggis showed the hatred and racial-discrimination portrayed by individuals based on their ethnicity. Every ethnic group has certain stereotypes known about them; these stereotypes influence others views about them. In Crash, individuals who are white, African American, Latino, Iranian, Asian, and Mexican crash together. Each character was linked to all the others through an event. The setting is in Los Angles where many races collide together in a series of nonviolent and violent encounters. Crash begins by showing the lives of the main characters and the psychological issues they go through each day, because of the prejudice based on the stereotypes that prevent each individual from seeing the other person for who he or she is, consequently showing the terrible expanding of the self-fulfilling insights. Many of the characters have been through some king of experience, which led to the way they are. Perception in my definition is a person’s ultimate view of the world. The movie Crash touches on the ideal of perception in America. It also deals with racist relations that some people don’t realize. Crash forces you to look at what we think we know about these issues and forces you to look at them from a point of view that may not have previously considered. The movie gives me the perspective that life isn’t about different races coming together and trying to live in one world but life is all about perception. When I was watching the movie Crash, I realize that some of the views that they portrayed, I hear them and sometimes see them every day. Everyday people judge others on how they look and how they speak. People don’t realize how much others judge people and how we build relationships. Some of the views that were in Crash happen in life around the world. For example at the end of the movie when the police officer was driving the African American and they got into an argument. He then tries to pull out a figurine of a saint to show a young police officer, the officer mistakes the gesture for Peter pulling out a gun and shoots him. Our perception is usually shaped by culture. If a person gets robbed by a Latino person, they most likely will be scared of that race. Or they will probably think that all Latinos are robbers. If you meet an African American male or female, and they talk in Ebonics or slang, some people might categorize him or her as a thug and a criminal.

The First Epistle of the Second Book of Horace Imitated

The First Epistle of the Second Book of Horace Imitated Living and writing in an era in which culture was flourishing and poetry was not simply a pastime[1], must have been a dream to Alexander Pope: such was the Augustan age in Latin literature (27 BC AD 14), which under the reign of the emperor Augustus provided not only for a serene social environment for the thriving of liberal arts, but also concerned about its good management by the close advisor Maecenas, responsible of the patronage of the artistic talent. In this sort of literary scene, poets such as Horace, Ovid, Virgil and Livy found their mastery being appreciated, highlighted and celebrated. Approaching the two historical periods with a thorough close analysis, its remarkable how Popes England and the Roman Empire were sharing aspects of their social life: the division between Court and Country as existed in the Augustan Rome was common view in England as the difference between luxury and philosophical retreat. A literary analogy, specifically relevant for Popes works, could also be detected, but in terms of cultural and social satisfaction, unfortunately, the 18th Century poet faced a reality which of Augustan had nothing but the name. The so called Augustan poetry rose during the first half of 1700 with the explicit intention of being satirical and political, meant to criticise and hit the government, whose enmity and hatred towards all poetry and the arts were concentrated in the figure of the contemporary ruling George II. Ascended to power in 1683, the monarch showed a non-caring and contrasting attitude towards every literary manifestation, often stating himself in favour of censorship that made poets voices and endavours even much harder to be heard and adequately esteemed. Moreover, the spreading corruption was detestated by the writers of the time, and by Pope in particular, who in 1737 came into closer association with the Opposition, expressing his role as an active political poet. Funnily, George II was also christened Augustus, coincidence that considerably remarked the difference between the two princes: Alexander Pope didnt think twice about taking advantage of this perfect homonymy and under the clever suggestion of his friend Lord Bolingbroke, he created a brilliant and enjoyable satirical collection: Imitations of Horace (1738). Firstly, what an imitation is must be clarified: not a fake, something not genuine should be thought about, but the Latin sense of imitatio should be taken into consideration, in which the idea of re-creation and re-interpretation is implied. Secondly, the choice of Horace must be explained: not only he was on the defensive of writing satire, as Pope was towards his literary environment, but also gave him the chance to rise questions and social problems besides giving judgments of contemporary literature and taste. These issues found their place in the mock-epic poem The first Epistle of the Second Book of Horace Imitated (May 1737), which also best underlines Popes contempt for George II, making of it a parodic effective thread over the poem. The Horatian Epistle opens with compliments sincerely paid by Horace to Augustus, while the ones claimed in Popes version are to be constructed ironically: the English Patron of Mankind in line 1 had nothing to do with the Horatian Caesar in line 4. The word caesar was not meant just to address Augustus with his second name: it is an important honorific that stands for the recognised authority and greatness of a leader, who could bear alone all the government and social duties, worth following with trust. The contrast between the two Augustuses is here even more highlighted and as the English courtier Lord John Hervey defines it, it is a very material difference [à ¢Ã¢â€š ¬Ã‚ ¦] For as personal courage was the only quality necessary to form a great prince which the one was suspected to want, so I fear it was the only one the other was ever thought to possess. (p. 261, Memoirs). The game of the parallel ironic and glorific tone plays constantly throughout the poem: such a Wonder of Kings! Like whom, to mortal eyes | None eer has risen, and none eer shall rise (line 29-30) becomes some monster of a King in line 210 and is still contraposed to the indisputable maiestas (line 258) of the Roman Augustus, or his greatness. This political complaint then is strictly connected with and leads the way to the real Epistles social concern. To start with, more than everything, Augustans of both ages were worried about their literary heritage and how they should have dealt with it. People and poets were happy and accostumed to praise primitives such as Shakespeare and Ennius, but a common sense of lacking of art of them was hanging in the air and foreign literature started being attractive after having conquered France in one case and Greece in the other. Horace could still see the sapiens et fortisEnnius (line 50) and his ingenium, the mastery he had demonstrated, as Pope would agree about Shakespeares immortality but another good way of doing literature was emerging and couldnt wait to be noticed. If Time improve our Wit as well as Wine, | Say at what age a Poet grows divine? (Pope, lines 49-50). Poets were scared of how much time might have taken for their works to be valued if people had remained stuck to the past for longer. For that, it was important not to leave the public be the judge in order to make sure the distance between the new and the old, veteros and novos (Horace, lines 37-38), was respected and here the social context starts to shape. When the poets write about the public and their feelings towards it, there is where the two societies begin to clush and be really interactive. On more scientific basis, this connection is interestingly defined as time-space distanciation in The Dictionary of Human Geography, 4th Edition, for which Anthony Giddens, British sociologist, describes the stretching of social systems across time and space. Historically, The nexus of relations political, economic, military in which a society exists with others is usually integral to the very nature of that society[2]: thus to maintain this interaction, which is intrinsic to society itself, so called technically symbolic tokens are implied, as media of exchange which have standard value and thus are interchangeable across a plurality of contexts (Modernity and Self-Identity, 1991). Put in context, these stretching and media of exchange seem fundamental in order to read in parallel Horaces and Popes societies. With the concept of time-space distanciation in mind, its easier to jump flexibly from one time to the other, from Rome to England and follow the thread that society weaves across the lines of the Epistle. Back to the relationship with the public, both poets are trying to warn about the misunderstanding of contemporary literature: Pope assumes an explicit rude and insulting tone while declaring that the public is nothing but a fool (lines 93-94), while on his side, Horace takes a softer and much more diplomatic position by claiming that not always the public sees and interprets things in the right way and its now mistaken in believing that no poetry can match the old school but that in this case Iove iudicat aequo (God judges righteously, line 68). However, the Latin text suggests a different shade of what Horaces consideration of the public was: he addresses the audience as volgus (line 63), which does not only refer to people in general but has to be read with a negative and offensive connotation that is effective on a class-based society, in which the mass was considered inferior and with scorn. The argue about the public goes on in lines 115-118 in Popes imitation: I lose my patience, and I own it too, | When works are censurd, not as bad, but new; | While if our Elders break all Reasons laws, | These fools demand not Pardon, but Applause. Fools that have no taste, a crowd that has no interest in welcoming the novitas, the novelty in literature (line 90, Horace) and still pays honorem et premia (honours and praises, line 78) only to the ancients: Pope was clearly complaining about the audience but at the same time denouncing the ruling power and censorship that was affecting the literary environment. Even the writers profession seemed to be undermined, as for Indocti doctique (educated people and not, line 117) for Horace and those who cannot write, and those who can for Pope, All ryme, and scrawl, and scribble, to a man (lines 187-188). Unskilled writers were emerging and the public was enjoying them with incertos oculos et gaudia vana (line 188, Horace). The choice of the adjective incertos (uncertain) for the eyes (oculos) is interesting, as it doesnt only refer to the dubious taste of the public but also to a sort of inner ignorance that caused confusion and inability to judge, as if the public itself was unskilled. That might simply remark the mistrust and disdain for the audience in Horace but in Pope it assumes again a political connotation, in which the unskilled writer is just taken as a pretext and metaphor to criticise the unprofessional and unskilled George II. The poem is so constantly balanced on the coexistence of political and social context. They create the wire on which the reader keeps his equilibrium within the two Augustan societies, each of them narrated and sung by their poets with similar yet so different connotations; in fact, their opinions about the literary taste converge in all their aspects but their perceptions of the possibility of dealing with power for it, differ. In this divergence lies the key point and crucial concept to change and light up the whole interpretation of the text and of the poets themselves. As previously mentioned, Horace was writing for and of Augustus, whom he could trust and relate to besides his audience: whether the latter failed, the prince was still a solid pillar waiting for his courtiers words. On the other hand, Pope had no one to rely on: the publics senseless and George II taken of any consideration. In this light, the Epistle takes the shape and significance of a social poem in which Horace is the image of that kind of society Pope wishes to live in and write for: Horace becomes the means by which Pope wants to raise his voice and at the same time he makes him part of the society itself. More than a simple report of power misbehaviour hides behind the lines of the Epistle: Pope puts in it his frustration and will, his anger and wish that a society of Horatian type could still be possible and viable and while this anger falls into satiric tones, he constructs on it an entire poem. The ideal of Horace and his actual figure help Pope in bringing his age and society to life and as he states in the Advertisement to The First Satire of the Second Book of Horace Imitated, an answer from Horace was both more full, and of more Dignity, than any I coud have made in my own person. In the last part of the Epistle, the presence of the poets becomes expressively strong. Standing in front of Poetry, Horace keeps his humble tone by declaring once again his scribendi studio (passion for writing, line 108) only aimed at celebrating Augustus maiestas; he would blush, in fact, at a great tribute to him alone, departed from his patron. On his side, Pope sticks to that aggressivity that just conceals insecurity and finally reveals the real parodic biting[3] intention of the Encomium. In the final lines he delineates a self-portrait, adjusting and immerging himself among the Georgian England, society for whom he felt the need to call for Pen and Ink[4]. BIBLIOGRAPHY Pope, Alexander, Imitations of Horace, ed. by John Butt, Methuens English Classics, 1966 Horace, Liber Secundus, Epistula I in Horatii Epistularum in Q. Horatius Flaccus, rec. J.G. Orellius, (Editionem Minorem Sextam post Io. Georgium Baiterum curavit Guilelmus Hirschfelder, Volumen Prius, ed. by Berolini, 1882), p. 400-436 Wikipedia, The Free Encyclopedia in Internet https://en.wikipedia.org/wiki/Alexander_Pope https://en.wikipedia.org/wiki/Augustan_poetry LeedsWIKI, Virgil, Horace and Ovid: The Politics behind the Poetry https://wiki.leeds.ac.uk/index.php/Virgil,_Horace_and_Ovid:_The_Politics_behind_the_Poetry The Dictionary of Human Geography, ed. by R.J. Johnston, Derek Gregory, Geraldine Pratt and Micheal Watts, (Oxford: Wiley-Blackwell, 4th Edition, 2000), pp. 837-838 [1] Virgil, Horace and Ovid: The Politics behind the Poetry, LeedsWIKI https://wiki.leeds.ac.uk/index.php/Virgil,_Horace_and_Ovid:_The_Politics_behind_the_Poetry. [2] A Contemporary Critique of Historical Materialism, 2nd edn (Stanford University Press, Stanford, California, 1995), p. 91. [3] That when I am at praise, they say I bite., line 409. [4] Line 180.

Irrational Choices Exposed in Robert Frosts The Road Not Taken Essay

Irrational Choices Exposed in The Road Not Taken Self-reliance in "The Road Not Taken" is alluringly embodied as the outcome of a story presumably representative of all stories of self-hood, and whose central episode is that moment of the turning-point decision, the crisis from which a self springs: a critical decision consolingly, for Frost's American readers, grounded in a rational act when a self, and therefore an entire course of life, are autonomously and irreversibly chosen. The particular Fireside poetic structure in which Frost incarnates this myth of selfhood is the analogical landscape poem, perhaps most famously executed by William Cullen Bryant in "To a Waterfowl," a poem that Matthew Arnold praised as the finest lyric of the nineteenth century and that Frost had by heart as a child thanks to his mother's enthusiasm. The analogical landscape poem draws its force from the culturally ancient and pervasive idea of nature as allegorical book, in its American poetic setting a book out of which to draw explicit lessons for the conduct of life (nature as self-help text). In its classic Fireside expression, the details of landscape and all natural events are cagily set up for moral summary as they are marched up to the poem's conclusion, like little imagistic lambs to slaughter, for their payoff in uplifting message. Frost appears to recapitulate the tradition 'in his sketching of the yellow wood and the two roads and in his channeling of the poem's course of events right up to the portentous colon ("Somewhere ages and ages hence:") beyond which lies the wisdom that we jot down and take home: Two roads diverged in a wood, and I -- I took the one less traveled by, And that has made all the di... ...lly understood to endorse -- predicts, in other words, what the poem will be sentimentally made into, but from a place in the poem that its Atlantic Monthly reading, as it were, will never touch. The power of the last stanza within the Fireside teleology of analogical landscape assures Frost his popular audience, while for those who get his game -- some member, say, of a different audience, versed in the avant-garde little magazines and in the treacheries of irony and the impulse of the individual talent trying, as Pound urged, to "make it new" against the literary and social American grain - for that reader, this poem tells a different tale: that our life-shaping choices are irrational, that we are fundamentally out of control. This is the fabled "wisdom" of Frost, which he hides in a moralizing statement that asserts the consoling contrary of what he knows.

Karl Jaspers and Seung Sahn Essay -- Compare Contrast Philosophy Essay

Karl Jaspers and Seung Sahn In this paper I will be making a comparison between the thoughts of Karl Jaspers and Korean Zen master Seung Sahn on the nature of consciousness and transcendence. The essays in question by Jaspers are his essays â€Å"On the Origin of My Philosophy,† written in 1941, and his lectures on the significance of Kierkegaard and Nietzsche and â€Å"the Encompassing,† given in 1935 (p. 158). The other text being studied is The Compass of Zen, a compilation of Seung Sahn’s lectures on the three main branches of Buddhism. The Compass of Zen was begun in the 1960s as a basic text to explain the â€Å"bone,† or common essence, of Buddhism to Sahn’s Zen students. The 1960s brought a sharp rise on interest in Buddhism among Americans, and The Compass of Zen is often used as a primer to help Westerners understand its teachings. Thus, Sahn has combined teachings from all over Asia (the three main branches of Hinayana, Mahayana, and Zen Buddhism) into one text. Ja sper’s philosophy is similarly based on the desire for a â€Å"universal historical view.† He considered the three main sources of philosophical thought to be India, the Orient, and the Western tradition beginning with the Greeks. He writes that it is important to understand many different types of philosophies because they all spring from the basic human desire for understanding. As he writes in Kaufmann’s anthology, â€Å"there is more than one universal truth in man.† Both Jaspers and Sahn are trying to create a universally applicable philosophy of inner reflection (meditation) to gain transcendence (enlightenment, nirvana, moshka, satori); in practical terms, inner peace. Jaspers’ philosophy is based in the idea that philosophy is ruined by attempts to put it into ... ... mentioned in Jaspers, it is prominent in the thinking of both Bergman and Camus.) As we can see, the philosophies of Jaspers and Seung Sahn agree on many of the same essential points, particularly on the structure and origin of consciousness. Where the two differ is in questions of methodology. Jaspers wants to stretch the limits of thought to find transcendence, while Buddhism (particularly Zen) tries to go to a place beyond thought, before thought, and thinks it best to do this by not thinking. Works Cited Jaspers, Karl. â€Å"On the Origin of My Philosophy,† â€Å"Kierkegaard and Nietzsche, â€Å"The Encompassing.† Existentialism from Dostoyevsky to Sartre. Ed. Walter Kaufmann. New York: Plume, 2004. p.158-232. Sahn, Zen Master Seung. The Compass of Zen. Boston: Shambhala, 1997. Tzu, Lao. Tao Te Ching. Trans. David Hinton. Washington, DC: Counterpoint, 2002.

Writing as Healing :: essays papers

Writing as Healing Chapter five, Writing as Healing and the Rhetorical Tradition: Sorting Out Plato, Postmodernism, Writing Pedagogy, and Post-Traumatic Stress Disorder written by T.R. Johnson of the University of New Orleans describes the different views of how language helps a person who has encountered a traumatic experience overcome and heal. Chapter nine, Pathography and Enabling Myths: The Process of Healing written by Anne Hunsaker Hawkins of Pennsylvania State University discusses how personal writing, such as autobiographies and biographies, promote healing in regards to illness. Both of these two chapters speak about writing in regards to healing, but chapter nine speaks about a specific writing that tends to be more effective. Classical logotherapists believed that disease and illness inflicted a person in order to punish a person for something he/she had done. The illness was also viewed as a form of trauma that deformed one’s character by society of the classical era and healing of the illness restored one’s identity and moral purity. Healers used â€Å"verbal charms, prayers, and incantations† in order to drive out the demon that caused the illness from the infected person. Plato believed that healing occurred â€Å"in a plane of absolute, unchanging truths above and beyond the plane of lived experience.† In other words, Plato rejected the idea of that language could heal the diseased or traumatized person. Postmodern healers believe that healing occurs through â€Å"self-actualization† which occurs through writing, another form of language. They feel that writing will provide an insight to the individual and that insight will allow the healing process to begin. It is said that pathography allows a person to heal because one consistently remembers new details when one writes about a particular experience. The remembering of these details are imperative to the healing process because it not only allows the person to get through the experience by re-telling it also allows one to get beyond the traumatic experience. The healing process often occurs through writing an autobiography or biography because the writer soon begins to feel that others should learn from his/her experience, which bridges self-suffering and the outside world. Pathography demonstrates that healing oneself often involves reaching out to others, which writing does.

Family of Woodstock Essay

Individual Contemporary America Paper The founders of Family of Woodstock charity organization was created in 1970, their human services mission is to provide confidential and fully accessible crisis intervention, resources, prevention, support services while utilizing a network of paid individuals, volunteers to help expand strength-based and prevention programs which grow healthier individuals, communities with providing strong leadership in the effort to assist people to achieve self-sufficiency and self-respect. The Family of Woodstock specializes in meeting the general needs of the community with the operation of 24 hour a day emergency switchboard that county wide and toll free. They specialized in offering walk-in centers that readily accessible/emergency shelter for the homeless and food programs that provides hot meals. They offer youth facility with fourteen beds to help address teenager who run away from home and need shelter. Men and women who are in recovery have access to nineteen-bed shelter. Families who can no longer afford to maintain a roof over their heads can stay at a twenty-seven bed Family Inn, and not sleep in their cars or on the streets at night. The organization recognized the need for immediate shelter for women and children who are battered, abuse have immediate access to seventeen-bed domestic violence shelter. Their services extends to supervised living programs sites for the adolescents and dependable care programs for the elderly, advocates for child care, HIV/AIDS family court, abusers, and individuals in jail. The charity organization is also authorized by Family Court to provide supervised visitation for parents who have lost their parental custody of their children. The Family of Woodstock personnel are skilled and trained not to pass judgment on people or try to tell them what they can or can’t do. They are there to listen to what people needed to say and then offer advice on what they can do. The Family of Woodstock tries to direct individuals to support groups that may help them or offer necessary  alternatives. The organization mission, values, ethics, beliefs and goals have remained the same with assisting individuals and families who are in need of supported services. Over the last four decades we have experience the evolution of concepts, ideals, and changes much like the principle’s that The Family of Woodstock stood on. The human services system had develop over many years, specialization has delivered great progress for individuals who need assistance for their daily survival. We have more programs available mental health, shelter, medical, battered women, substance abuse, vocational and food programs. In the United States along our population will continues to grow and the demand to provide more support services will be needed.

Important of cruise ships in my destination Essay

A cruise ship is a ship built for passengers,but mostly used for pleasure cruises.A cruise ship generally takes passengers on extended cruises with occasional calls in various places of interest.The cruise industry is the fastest-growing category in the leisure travel market; it plays an essential major role in the tourism sector. It is important for cruise ships to come to my destination/country because of the many benefits to be derived from such an endeavor.Cruise ship tourism generates revenue for my destination/country through tourists expending at (bars,restaurants,craft villages,shops,attractions,etc) per person head taxes and other fees.The foreign exchange from this benefit my destination/country gained greatly;it provides the government with well needed currency to support the country’s debt and to purchase goods and services from overseas.It increases the tax revenue of the government also.The taxes which are collected are used to improve the countries infrastructur e making my destination more seductive to future visitors.The cruise ship industry also produces employment for many workers at my destination.Persons are employed at the various ports where the ships dock.Jobs in restaurants,bars,hotels,entertainment facilities and more are also produced.They are also employed at tour companies,attractions, craft markets, and shops who sell to tourists.Security,transportation and farming jobs are also created.Accommodating cruise ships also allows for improvements to infrastructure such as port facilities; expansions to shipping ports allows for more greater ships to visit.Improvements are also done on public facilities.These improvements benefit my destination in the long run as they improve their overall standard and quality of life of the citizens living there.Cruise ship tourism also produces the possibility for  future stop over visitors.