Charles Dickens Essay

Great Expectations, written by Charles Dickens, is one of the most popular classics of our time. Dickens novel was, some may say the work of a genius. The tale is of a boy who starts from humble beginnings and whom the story follows through to young adulthood each entering a new experience for the boy. Charles Dickens wrote the novel in 1860-61. He was born into a respected middle class family, in Charlton. He incorporated local features and happenings into his books when he could. His father went into debt and then prison after his finances collapsed. The rest of the family had to go to, so Charles spent time in prison. This is where Charles Dickens got some of his inspiration for his book. He eventually died at the age of fifty-eight from a stroke and was buried in his local churchyard. Chapter eight is an essential part of the book because it conveys a clear image of the characters personality and is a key part for the rest of the story. I will look in Chapter 8, where Pip goes to see Miss Havishams house for the first time, for a number of different techniques and devices which the writer uses to make us feel sympathy for Pip. Charles Dickens starts making the reader feel sorry for Pip when he and Mr Pumblechoke arrive at the gates, and Estella greets them. They completely over look Pip. This shows that Pip is unessential and insignificant. â€Å"This†, said Mrs Pumblechoke, â€Å"is Pip† â€Å"This is Pip, is it? † returned the young lady â€Å"come in† â€Å"Oh she says, â€Å"you wish to see Miss Havisham? † â€Å"If Miss Havisham wishes to se me. † Returned Mr Pumblechoke. As you can see, from this initial conversation, Pip does not have the opportunity to introduce himself. This shows that he is considered to be insignificant, even though it was he who Miss Havisham had sent to see. This makes the reader feel condolence for Pip because it is as if people don’t care about him. After the initial conversation, when Pip was marched inside with Estella, Estella starts to patronise Pip, which makes us feel sorry for him. â€Å"But don’t loiter, boy† Though she called me â€Å"boy† so often, and with a carelessness that was far from complimentary, she was about my own age. She seemed much older than, of course, being a girl, and a beautiful and self-possessed; and she was as scornful of me as if she had been one and twenty, and a queen† This paragraph shows us that Pip is already feeling downhearted about Estella constantly making him feel bad. Even though Estella was about the same age as Pip, she considers herself to be wiser, more mature and generally above Pips level. This is showed in the film by Estella being taller than Pip and looking down on him making her think herself bigger than him. This makes the reader feel sympathetic towards Pip because it is his first visit to Miss Havishams. He is evidently nervous and anxious, and having someone of his own age being scornful towards him, his self-confidence just breaks. The third time in chapter eight that the reader is made to feel sorry for Pip is when Pip was left in the hallway on his own with no light. â€Å"Scornfully walked away, and – what was worse – took the candle with her. This was very uncomfortable and I was half afraid† This makes the reader feel sympathetic for Pip because he is portrayed as being vulnerable. Estella leads Pip into the house and to a door, and was proclaimed by Estella to go in. Pip declines and returns with â€Å"after you miss†. Estella telling him not to be so stupid and scornfully walks off with the light. You would think that now Estella had gone, his situation would have improved but this is not the case. He is about to embark on his first meeting with Miss Havisham, making him hesitant and nervous. His confidence is not helped by standing outside the door in darkness, with no candle. Pip is now viewed as being vulnerable. Soon after Pip swallows his pride and opens the withered and wrecked door handle. â€Å"No glimpse of daylight was to be seen in it. It was a dressing room, as I supposed from the furniture, though much of it was of forms and uses quite unknown of to me† Pip enters through the door and is met by a milky white room. Although well lit by candle. There is antiqued furniture, all of which added to the mood, as if nobody had lived there for quite some time. The clocks had also stopped at twenty minutes to nine. The reader then feels sympathetic towards Pip because of his already nervous state being placed in an eerie, scary atmosphere, which seems unnatural to the poor boy. The reader once again feels sorry for Pip when he is ordered to play cards with Estella, for Miss Havishams viewing. Estella once again starts to be obnoxious towards Pip.

Metaphysical Poets Essay

The term metaphysical poets was coined by the poet and critic Samuel Johnson to describe a loose group of British lyric poets of the 17th century, whose work was characterized by the inventive use of conceits, and by speculation about topics such as love or religion. These poets were not formally affiliated; most of them did not even know or read each other (Wikipedia). Their work is a blend of emotion and intellectual ingenuity, characterized by conceit or â€Å"wit†Ã¢â‚¬â€that is, by the sometimes violent yoking together of apparently unconnected ideas and things so that the reader is startled out of his complacency and forced to think through the argument of the poem. Metaphysical poetry is less concerned with expressing feeling than with analyzing it, with the poet exploring the recesses of his consciousness. The boldness of the literary devices used—especially obliquity, irony, and paradox—is often reinforced by a dramatic directness of language and by rhythms derived from that of living speech. Esteem for Metaphysical poetry never stood higher than in the 1930s and ’40s, largely because of T.S. Eliot’s influential essay â€Å"The Metaphysical Poets† (1921), a review of Herbert J.C. Grierson’s anthology Metaphysical Lyrics & Poems of the Seventeenth Century. In this essay Eliot argued that the works of these men embody a fusion of thought and feeling that later poets were unable to achieve because of a â€Å"dissociation of sensibility,† which resulted in works that were either intellectual or emotional but not both at once. In their own time, however, the epithet â€Å"metaphysical† was used pejoratively: in 1630 the Scottish poet William Drummond of Hawthornden objected to those of his contemporaries who attempted to â€Å"abstra ct poetry to metaphysical ideas and scholastic quiddities.† At the end of the century, John Dryden censured Donne for affecting â€Å"the metaphysics† and for perplexing â€Å"the minds of the fair sex with nice speculations of philosophy when he should engage their hearts . . . with the softnesses of love.† Samuel Johnson, in referring to the learning that their poetry displays, also dubbed them â€Å"the metaphysical poets,† and the term has continued in use ever since. Eliot’s adoption of the label as a term of praise is arguably a better guide to his personal aspirations about his own poetry than to the Metaphysical poets themselves; his use of metaphysical underestimates these poets’ debt to lyrical and socially engaged verse. Nonetheless, the term is useful for identifying the often-intellectual character of their writing (Encyclopedia Britannica). Without doubt Samuel Johnson’s choice of the word metaphysical to describe the followers of Donne was directly influenced by these earlier usages (th e Cleveland passage is quoted in Johnson’s Dictionary of 1755 to illustrate the definition of ‘Metaphysicks’). The category of poetry that indulged in metaphysics was a live one for later seventeenth-century poets, but for them metaphysics was a word used to mark the point at which strongly argued verse bordered on self-parody. There is more value than this, however, in the group name. Even in the earlier seventeenth century members of the core group of metaphysical poets were connected by a number of social, familial, and literary ties. Izaak Walton relates that Donne and George Herbert enjoyed ‘a long and dear friendship, made up by such a Sympathy of inclinations, that they coveted and joyed to be in each others Company’ (Walton, 57–8). Donne addressed poems to Herbert’s mother, Magdalen, and preached her funeral sermon, as well as writing a poem to Herbert’s brother, Edward, Lord Herbert. Herbert of Cherbury in turn read both Donne’s poetry and that of his own brother with care, and was a friend of Thomas Carew and Aurelian Townshend. Henry Wotton was the addressee of epistles in both verse and prose from his close friend John Donne, and at one point intended to write a life of Donne. Henry King (whose father ordained John Donne) was in daily contact with Donne at St Paul’s Cathedral, where the older poet was dean while King was chief residentiary. Donne bequeathed to King a portrait of himself dressed in his winding-sheet. Not surprisingly King’s verse is haunted by that of his friend, from whom he received manuscripts, as well as books and themes for sermons. Later in the century there were other close groupings of poets, who, although not linked by direct personal familiarity with Donne and Herbert, were bound to each other by ties of family, friendship, and literary consanguinity. Thomas Stanley was a cousin of Richard Lovelace and the nephew of William Hammond, and became a friend of John Hall, one of the most underrated of the minor metaphysical poets. Cowley was a friend and eventually elegist of Richard Crashaw. Pockets of metaphysicality also survived in several institutions: it cannot be an accident that Henry King, Abraham Cowley, Thomas Randolph, William Cartwright, and John Dryden all attended Westminster School. But by the later seventeenth century the bonds of friendship and affinity that had linked Donne and Herbert were in the main replaced by looser ties of literary indebtedness. Declaratory utterances to imagined or absent addressees who are summoned into being by the force of the speaker’s eloquence are common among poems by members of these networks, as are works that explore the balance and imbalance between the demands of the body and the spirit. Direct attempts to persuade, either through comparisons or through arguments that self-consciously display their logical elisions, are also among the most evident legacies left by Donne to his poetical heirs. No single one of these elements constitutes a metaphysical style, and it would also be wrong to suppose that all of them must be present in a given poem for it to be regarded as belonging to the tradition. It is also incorrect to believe that a poet who sometimes wrote poems in a metaphysical manner was always and in every poem a metaphysical. The metaphysical style was various. It also changed in response to historical events. Donne’s Poems and Herbert’s The Temple were both posthumously printed in 1633. Those publications immediately extended the literary communities of their authors through time and space, and the fact that both volumes were posthumous had a significant effect on the kind of influence they exerted. Donne and Herbert rapidly became models for imitation, but they could also be regarded as ideal representatives of an age that had passed. Imitation of them could therefore become an act not just of nostalgia, but of politically or theologically motivated nostalgia—as occurs most notably and heavy-handedly in the high Anglican pastiches of Herbert included in The Synagogue by Christopher Harvey, which was regularly bound with The Temple after 1640. In the political and ecclesiastical upheavals of the 1640s the metaphysical style moved on. Imitating Herbert in particular could signal a desire to resist the depredations suffered by the English church during the civil war. Richard Crashaw’s Steps to the Temple (1646) explicitly links itself by its title to Herbert’s volume. The editions of 1646 and 1648 include ‘On Mr. G. Herberts Booke’, which declares ‘Divinest love lyes in this booke’. Henry Vaughan’s preface to the second volume of Silex scintillans (1655) ascribes to Herbert’s influence his conversion from writing secular poems, and he marks the debt by adop ting the titles of several poems by Herbert for his own works. By the second part of Silex these allusions to Herbert carried a political charge, intimating Vaughan’s resistant attitude to the forcible ejection of conservatively minded ministers from churches in his native Wales by commissioners acting under the parliamentary ordinance for the propagation of the gospel. The gradual replacement of networks of closely connected individuals by relationships between dead authors and their readers is perhaps a central reason for the emergence of metaphysics (in the pejorative sense) in later seventeenth-century verse. The two later poets stigmatized by Johnson as ‘metaphysical’, Cleveland and Cowley, knew Donne only as a voice in a book. Efforts to reanimate that voice often show signs of strain. But the move from personal to textual connection between members of the group did not always have undesirable consequences. Andrew Marvell, who ever since John Aubrey’s ‘Brief life’ has tended to be regarded as an isolated figure in the literary landscape, has perhaps the most distinctive poetic voice of any member of the group. By describing pastoral figures with wounded or sullied innocence who argue perplexedly about their own fate and the unattainability of their own desires, Marvell transformed the metaphysical style into an idiom appropriate for a period of political division and national crisis. He was not entirely disconnected from its other practitioners: he was at Trinity College, Cambridge, at the same time as Abraham Cowley, and he wrote a commemorative poem for Henry, Lord Hastings, in Lacrymae musarum (1649), a volume that included poems by Dryden as well as John Hall. He and Hall were both among those who composed dedicatory poems for Richard Lovelace’s Lucasta (1648). Like Cleveland, Marvell owed his reputation in the later part of his career largely to his political and satirical poems, but his posthumously published Miscellaneous Poems (1681) shows that a reader of earlier metaphysical verse who actively responded to his changing times could transform the idiom of his predecessors (Oxford Dictionary of National Biography). Works cited Colin Burrow, ‘Metaphysical poets (act. c.1600–c.1690)’, Oxford Dictionary of National Biography, online edn, Oxford University Press, Feb 2009 [http://www.oxforddnb.com/view/theme/95605, accessed 5 Aug 2012] Encyclopedia Britannica www.britannica.com/EBchecked/topic/377915/Metaphysical-poet Wikipedia http://en.wikipedia.org/wiki/Metaphysical_poets

The Immortal Life of Henrietta Lacks

In Rebecca Skloot’s novel The Immortal Life of Henrietta Lacks many ethical questions are raised regarding the practices used to collect and distribute Henrietta’s cells. These practices led to emotional challenges faced by each of Henrietta’s family members and close friends. These ethical issues combined with the struggles faced such as poverty, trust and the lack of education by the Lacks’ family contribute to the overall theme of the novel. Once Henrietta was diagnosed with cervical cancer, she was forced to undergo harsh radiation treatments in the hopes to battle the disease, which ultimately led to her demise.Her family and friends watched her suffer without any knowledge of her cells being taken or continuing to live after her body had departed. The Lacks family, including Henrietta, trusted the doctors at Hopkins and never thought to question anything tests they needed to run or surgeries they asked to preform. The family was also very uneducated. When told her mother’s cells were immortal and still living, Deborah as well as other Lacks began to think there were millions of Henriettas roaming the world.The question of ethics, which reoccurs throughout the novel, was that of whether the doctors at John Hopkins should have asked for permission before collecting Henrietta’s cells. Another question raised was whether the HeLa cells fame, should have been explained to the remaining Lacks’ and whether or not the family was entitled to a portion of the profits. When Slook came in touch with the family, she began to teach them about their mother and her cells; they were finally beginning to understand the nature of their mother’s cells. The theme that had the largest impact on my reading of the novel was that of ethics.The use of human cells without the knowledge of the patient is unethical especially when the education level and social class of that patient is used to the doctors advantage. There were s everal decisions made throughout the novel in which the family had no say, therefor they were made to the advantage of the decision maker. The initial sample taken from Henrietta’s tumor is one of many examples. Henrietta thought that she was simply going in to have her cancer removed, when in fact her cells were removed and currently are still thriving.The question of ethics did not come into play when the outcome benefited someone other than the patient. The nature in which Henrietta and her family were treated is very unethical. They were virtually left in the dark and the fame that Henrietta’s cells received was never shared with the family. There are many different views on people’s cells once they have been removed from the body. Whether or not I agree with these views would be enough for a paper itself. The novel written by Skloot gave Henrietta, her family, and her cells the proper place in history to which they deserve.

Biff Loman’s Role in Death of a Salesman

Biff Loman may not be the â€Å"Salesman† in Arthur Miller’s masterpiece, The Death of a Salesman, but he is the main character of the play. The character known as Biff Loman is at the root of his immediate family’s internal dilemmas and inner conflicts. Biff’s essence is what motivates the men in his family to choose the path that they take in life. For this reason, even when Biff is not present in a particular scene, he is still omnipresent because of his invisible pull on the actions and feelings of his family members whom he had impacted throughout the years. The play finds Biff Loman at age 34, while his younger brother Happy is 32. Growing up, Happy was influenced greatly by his older brother. This is common in most young boys, especially when they are this close in age. Happy was eyewitness to the arrogant and womanizing behaviors of his elder brother, Biff during their youth. Happy saw the way Biff behaved during high school and witnessed the positive feedback that he received from both his peers and his father as a result of his behavior, which was less than exemplary. Happy saw Biff skate through his teenage years living in this manner. Biff got the attention from their father that Happy had yearned for. The stage was set for Happy to attempt to emulate Biff’s womanizing, unscrupulous actions during his own life. Happy became a womanizer on a level which even exceeded Biff’s promiscuous behavior during his youth. Happy often found himself sleeping with his boss’s wives, girlfriends and fiances. He couldn’t even understand why he did it. It was simply an instinct which was engrained in him after spending his impressionable years so close to Biff, even sharing a bedroom with him during this time. Willy Loman, himself, was obsessed with his eldest son. During Biff’s prime of life, Willy found happiness by living vicariously though his son. Poor Happy was hardly noticed by his father who was so wrapped up in Biff. Willy believed that he would find all his dreams that were never realized finally seen through by Biff. He thought Biff would succeed in college and find the successful career that Willy himself was never fortunate enough to have. All of Willy’s hopes and dreams were wrapped up in this one boy and when Biff failed to live up to them, Willy felt that failure just as deeply as he felt the let-down of his own unfulfilled life. To make matters worse, even though Willy did not admit it, he knew that he, himself was to blame for Biff’s downfall. Willy never pushed Biff to do the right thing in life. He chuckled when Biff stole from his football coach and was proud of his son when Biff made his friends clean the family’s basement. Biff said to his father, â€Å"I think I’ll have them sweep out the furnace room† to which Willy replied, â€Å"Good work, Biff. (Miller 1192) Willy’s wife, Linda, had warned him about Biff being rough with the girls and this, too, was shrugged off . Linda said, â€Å"He’s too rough with the girls, Willy. All the mothers are afraid of him. † Willy replied, â€Å"Shut up†¦Ã¢â‚¬ ¦There’s nothing the matter with him! †¦ . He’s got spirit, personality†¦. † (Miller 1195) Willy felt that Biff already possessed all the qualities needed in order to be successful in life, so there was no need to offer guidance to his son or punish his missteps along the way. This was a parenting strategy that Willy would later live to regret. The paramount of Willy’s guilt was the fact that Biff caught him in a hotel room with a woman with whom he was having an affair. Willy made up ridiculous excuses to cover the fact that this woman was in his hotel room naked. He tells his son, â€Å"Biff, she’s a buyer. They’re painting her room†¦. She lives down the hall – they’re painting. † (Miller 1240) Biff saw through to the truth of the matter, though. He yells at his father, saying â€Å"Don’t touch me, you – liar! (Miller 1241) Biff was so crushed by the realization that his father was not the family man whom he had idolized that he did not even bother to make up the math course that he had to complete that Summer in order to graduate. This one small action threw away his chances at attending college. The immense guilt that Willy felt as a result of his son discovering his infidelity is at the cor e of play’s plot. This guilt and attempted absolution is what ultimately leads to the death of Willy Loman. Willy is attempting suicide in order to finally make things right with Biff. He wants his first born son to collect twenty thousand dollars from a life insurance policy. Willy, who has his own identity so wrapped up in Biff, feels that Biff will become successful with this money and therefore Willy’s legacy will be one of achievement and success in life. Willy is so convinced of this idea being a reality, that he is willing to throw his earthly life away for a chance at an afterlife view of his own dreams being carried through his son, Biff. This makes Biff the lead character in the play. Bibliography; Only the actual play is refererenced in this report.

9/11 the After Effect on Canada

Sunner CHC2D1-06 Mr. Pasquantonio June, 4th, 2012 9/11: The After-effect on Canada The events of September 11, 2001 (9/11) are remembered throughout the world. On this unforgettable day, three aircrafts crashed at different locations throughout the United States. Two of which crashed into the famous World Trade Center taking thousands of innocent lives. These attacks had allowed countries to learn and prepare to avoid any similar future events. Moreover, the effects of 9/11 had indirectly influenced Canada, beneficially and detrimentally.Canada as a nation had learned from this tragic experience as well as mourned the losses of its neighboring nation. The terrorist attacks had dramatically affected Canada; socially, economically, politically. To begin with, Canada’s social atmosphere had been indirectly affected by 9/11. The aftermath of 9/11 mirrored similar social effects of the United States, within Canada. Canadians developed a sense of paranoia for unexpected terrorist at tacks, which may possibly occur at any given period.Many Americans believed that the terrorists had slipped through Canadian borders; in consequence, attacking Canada may be easy for terrorists. The events of 9/11 had influenced many of the majority class Canadians to assimilate a patriotic and vengeful mind state. Post 9/11 minority Canadians were witnessing a dramatic increase of discrimination and racial profiling. Several majority class citizens and patriotic citizens were acting chaotic by performing hate crimes for their own self-interest of protecting themselves.Similarly, several minority individuals consisting of brown skin tone were perceived to be terrorists and prone to alienation, â€Å"Muslim, Jewish, Hindu, and Sikh Canadians all once again found themselves on the receiving end of unjust treatment meted out by their neighbors. Due to the reaction of the community; Sikh and Hindu temples were razed and targeted as a terrorist threat. Overall, the social atmosphere wit hin Canada had been detrimentally affected by the event of 9/11.Secondly, Canada’s economy had been ultimately influenced by the attacks of 9/11. Canada’s economy like many others is partially dependent on the United States. In consequence, Canada mirrors the United States economic progress. . The aftermath of 9/11 had mainly been negative for Canada’s economy. In 2009, Canada had imported 51. 1% to its biggest trading partner, the United States however, the increased border security applied by the United States resulted in a 2. 4% decline in Canada’s exports to the United States.Several businesses had laid-off workers. Over 462 form layoffs were executed and an estimated of 130,000 workers were displaced. Canada had expended $1. 2 billion in order to enhance border security. After 9/11 Canada’s security expenses had dramatically increased to an estimated total of $10. 7 billion. Increased security after 9/11 had continuously led to harmful effects towards the economy. However, improved security within Canada had led people to believe that the country was a much safer place than before.Similarly In result to 9/11, Canada’s economy had shifted negatively. Finally, Canada had undergone numerous political changes as a result of 9/11. Canada had applied new policies and regulations to ensure and safeguard the protection of society and to avoid any future acts of terrorism. As a result, Canada introduced the ‘Canadian Anti-Terrorism Act’. Such an act was necessary in-order to calm down society and create a sense of safe-haven. The act was created only after the 9/11 attacks, and the main goal was to prevent history from repeating itself.Also, Canada had created a new act to further increase security and prevention of terrorism, â€Å"Public Safety Act, which features executive regulations designed to secure sites and substances exposed to terrorism. The main purpose of the act was, to prevent terrorist attacks and protect Canadians, However, many Canadian citizens where shocked by the event and wanted to reach out and give their full support in helping the United States. To sum up, Canada’s political state had endured an extensive amount of changes. In conclusion, Canada had been affected circuitously by 9/11.Post 9/11, Canada had appeared out as a different nation; it had changed socially, economically, environmentally. Socially, Canada had reacted towards the tragedy with an increase of discrimination, racial profiling and hate crimes. Moreover, Canada’s economy had suffered negatively because of our dependence on the United States. Corporations and businesses had experienced lower profits for the months following the attacks as a result of increased security. Canada had also shifted politically with the creation and innovation of new and old laws and regulations for the greater good of society.Such an terrible event that had taken place on 9/11 will never be forgotten; i t will be imprinted into history and used as an example to avoid any similar events. Works Cited Adelman, Howard. â€Å"Canadian Borders and Immigration Post 9/11. † International Migration Review. Volume 36, Number 1 (Spring 2002), 15 Athanassakos, Alex, Meis, Scott and Nieuwenhuis, Sid, â€Å"THE IMPACTS OF THE US TERRORIST ATTACK ON CANADA'S ACCOMMODATION INDUSTRY. † Ontla. On. Ca. http://www. ontla. on. ca/library/repository/mon/3000/10301210. df, accessed 17th November 2010. Gloverman, Steven and Storer, Paul. The Impacts of 9/11 on Canada-U. S. Trade. Toronto: University of Toronto Press, 2008, 19 & 159 Kent, Roach. â€Å"Canada’s Response to September 11. † Kent, Roach, Michael, Hor and Victor, Ramraj. Global Anti-Terrorism Law and Policy. Cambridge: Cambridge University Press, 2005, 535 Kruger, Erin, Mulder, Marlene and Korenic ,Bojan. â€Å"Canada after 11 September: Security Measures and ‘Preferred' Immigrants. † Mediterranean Q uarterly. Volume 15, Number 4 (Fall 2004), 84-85 n/a. Canada's Actopms Against Terrorism Since September 11. † Foreign Affairs and International Trade Canada. http://www. international. gc. ca/anti-terrorism/canadaactions-en. asp, accessed 20th November 2010. n/a. â€Å"Of man, being the first part of Leviathan,† Thomas Hobbes. 1909-14, http://www. bartleby. com/br/03405. html, accessed 21 November 2010. William C, Banks. â€Å"United States Responses To September 11. † Kent, Roach, Michael, Hor and Victor, Ramraj. Global Anti-Terrorism Law and Policy. Cambridge: Cambridge University Press, 2005, 520 ;amp; 525

Managed healthcare Assignment Example | Topics and Well Written Essays - 250 words

Managed healthcare - Assignment Example With control, the use of resources is properly managed and can be assured of the sort of outcome to expect. Through control, the patterns of the medical practice are kept in track and it is easier to make arrangements of future advancements in technology as even the finances are well handled. Managed care in itself refers to care that is under control and is helpful to the management in promoting the success of quality healthcare delivery. It also helps in determining the efficiency of the resources in place and ensures quality outcomes of the health care sector (Kongstvedt 2012). In conclusion, has there not been the rising cost of receiving proper healthcare then perhaps there would not have been pressure on the government to impose policies that lead to managed healthcare. However, there needed to be a controlled system of healthcare provision that ensured the needs of the public were met and that there was balance in the finances that were demanded of

Fualole's Song Essay Example | Topics and Well Written Essays - 1250 words

Fualole's Song - Essay Example I joined the military at the age of eighteen and also had my first baby at that young age. These two events I think of as my first steps to growing up. Before then, I worked in McDonald's. Everybody sees the yellow arch, the red and yellow surroundings, the fast food and maybe the smile but not the person who works there. I might just have been anyone saying "Enjoy your meal" or "Have a nice day." I was, and still am, bubbly, friendly and outgoing, but wanted and needed more. My family could not afford to send me to college, but I wanted to extend myself, to learn more, to find out what I could achieve and who I was. But at that time, my life was fun, I was a kid. I saw the army as an opportunity to do something better. Early experiences of army life were a whole other world, one in which perfection and discipline ruled. Beds with sheets like fresh fallen snow, boots black and shining as tar. Obedience to rules, aching limbs and heavy backpacks, the tools that built physical and mental strength. Best of all was the sense of belonging, the teamwork and the realization that what I did mattered to others, my contribution was valued by my officers, company, division, regiment and country. In a short space of time, I was achieving a wider But even these exciting discoveries could not compare to giving birth to my beautiful baby. If blood, sweat and tears were put together, then that goes a little way to explaining the experience. The tears were of joy, at such an accomplishment, at creating a life. Labor was nothing anyone could have prepared me for - the pain, volcanic at times, pushing and forcing me towards the hope of a prize. At eighteen years old, I had my first understanding of the meaning of unconditional love, the beginning of mature responsibility. Nothing since has ever quite matched that experience, which made me more aware of the cycle of life and also, how important it was for me to try to be the best for somebody I loved, who depended on me. A squally scrap of humanity captured my heart and opened my mind. It was no longer just about me, I had to sing a different tune now. In reflecting on myself, I looked at how I was before I took steps to better myself. Even as a young person, I worked hard and did my best in my job. I saw that I also liked to play hard, have fun with my friends, maybe argue with my parents, and in truth, I did not care too much, so long as I had the money to enjoy myself and not to worry about responsibilities. I did not look further than having fun and getting along with everyone. At the same time, I was becoming more aware that I could maybe do better. I knew I was good with people, could always empathize and communicate and that I had a strong will and values around hard work and striving to improve. These parts of me made me search for a way to grow and better myself in life, while searching for independence. They are what made me join the military, which as I said earlier, moved me a little further along the road to becoming a mature and independent woman, not a thoughtless girl, just drifting through life. Now I believe, I have reached that maturity and independence. I think for myself, I

Usability Testing and Implementation Essay Example | Topics and Well Written Essays - 500 words - 2

Usability Testing and Implementation - Essay Example e you only need to click home at the bottom of the current page instead of using back arrow on the top left side of the display screen (Barnum, 2010, p. 09). Such kind of pictures is immoral being that the family could find it difficult to discuss the information on the page together. With the intention to display private parts of human beings the web developer hinted that the information on the page best suites adults. However, this is contrary to the information on the page which contains both educative and informative information that would best fit the whole family (Barnum, 2010, p. 17). Considering the number /instances of such vulgar or weirder information that would create a rift between the discussion groups ion family, the number of informative information is above average hence such information that are irrelevant for the page should be removed from the site so that both parents and children could have un- education forum (Jacko, 2009, p. 43). Through the study of the web site (http://www.useit.com/jakob), I realized that most of the information in the site history is vulgar meaning that before a user uploads information they go through the available information to realize the trend so that they follow suit (Jacko, 2009, p. 15). However, the web developer should create some codes to restrict use of vulgar words unless you log in. Another option of solving this through creating user accounts so that private information could information. The good idea with the photo is that by clicking on it you could enlarge it to a wider view unlike the picture in the other two sites which could not be altered at all. Considering the web site (http://www.useit.com/jakob/, users) could be withdrawn from accessing information being that the web page is not designed in a welcoming manner, the font style and color shows unconcern hence users may tend to think that this is an up communing page while it entails a lot of information that would be of importance to

Sufficient funding to Hawaii University Essay Example | Topics and Well Written Essays - 1000 words

Sufficient funding to Hawaii University - Essay Example The institutions will encourage their students to participate into such activities in order to nurture the youth’s talents, exploit the available positions in the organization and to encourage the students to utilize their talents, and use it as a source of revenue generation (Benjamin 34). Proper funding to the Hawaii University will ensure the institution builds the required educational facilities such as workshops, the up-to-date reading room and other required facilities to perform research and practical’s. Because of this, the scholars and the personnel of the Hawaii University will be able to carry out their ideas on innovation due to the availability of the required resources to sponsor and make the dreams a reality (Stanton 33). Innovations from the students will act as a major boost to the economy of the country as the students will be able to invest their ideas thus creating employment and generate revenues to the government through the payment of taxes. Labor atories will also enable the practitioners to perform practical’s which intern may help them come up with solutions to long-term problems that have prevailed in the country. The students will also be able to come up with medical problems because of enough fund to cater for the research expenses and availability of required facilities (Jeff 12). Sports do play a healthy role in the development of the youths in the improvement of the academic achievements, their higher esteem increases and they face few behavioral problems. Students mainly are known to focus on sports  to improve their competence, assurance, their character and acquaintances and finally for considerate.  

Women in Greek Mythology Essay Example | Topics and Well Written Essays - 2000 words

Women in Greek Mythology - Essay Example In Greek mythology, women are seldom considered in isolation from men, though critics consider important exceptions below, and they seldom have scope for action on their own initiative. According to Dillon (2002): Numerous oppositions in the ways in which Women were categorised, often determined by their role in society, and also their ethnic origin, are reflected in the various dichotomies of citizen wife/foreign woman, slave/free, prostitute/wife, girl/woman, and woman priest/woman sorcerer, to name some, all of which could overlap, and influenced how, why, when and where they gave expression to their religious beliefs (5). Mostly, females are either (a) children, (b) nubile maidens or (c) married. What is absent from this female career structure is any stage between initiation and marriage - the stage which allows the male to become a warrior, prove himself and discover himself: men marry later than women (Dillon 2002). Widows are mostly ignored and single women cannot be allowed to exist, except for goddesses like Circe and Kalypso in the Odyssey. For instance, "Hera is most typically a goddess of women, and it is for that reason that she is on occasion worshipped as Maid, Wife, and Widow, the last title giving no little trouble to interpreters of her myths in classical times, seeing that her husband was immortal" (Rose 1991, 103). In Greek mythology, womanhood is depicted through religious ritual and values followed by women characters. It is not surprising that religious dogmas became the code of behavior for women who needed strong arguments to prove their decisions. Gods are supposed to be temperate, diligent, loyal, hard-working, and cheerful. Although the religion women's responsibility for one's destination in the next life and one's fortunes in this, the individuals form a tight-knit and strongly. The above picture is supported with a number of important cases of religious domination remaining important because it continues to serve a variety of important social functions. The realization that a woman has to devote herself to husband and live according to the values was typical for all mortal women. Even if women want to be equal to men they would never talk about this with their husband. Such behavior considered typical for this epoch (Lefkowitz, 1986). A special attention was given to the role of marriage. For instance, Orestes acquires his entitlement to the throne of Sparta by marriage with Menelaos' daughter, Hermione. Menelaos came to the throne through his marriage with Tyndareus' daughter, Helen. Odysseus' winning of Ikarios' daughter, Penelope, has a high profile in the mythology - a myth which Homer, in his characteristic way, replays through the perverted attempt of the suitors to win Penelope's hand in Ithaka. In these cases the succession to the throne passes via a woman. This is not 'matriarchy', for women are not queens in their own rite, nor is it 'matrilinearity' (Rosaldo, Lamphere 1974), for power passes via daughters and wives, not mothers. Indeed the marriage is called into existence precisely because the daughter cannot wield power herself. This belongs in the broader Greek cultural picture of the

Business in Focus Essay Example | Topics and Well Written Essays - 3250 words

Business in Focus - Essay Example US Laws protect citizens against any misuse of tax records and information sharing if not having support proper authorization (Hatch n.d.). In spite of such provision of protection according to Gregory Shaffer (2000), personal information is traded and transferred about each U.S. citizen very frequently. There are privacy breaches ranging from very serious identity theft incidents to marketing solicitations. Data unlike a physical object can be sold and distributed with relative ease in today's electronic society. Medical and financial records could be used in hiring decisions. Social security numbers could be used in case of identity theft and financial fraud. One's address could be used to conduct a hate crime. Terrorists and anti-government groups can use government security information to attack nuclear plants and other government targets. The U.S. legislation on national scale is not comprehensive on privacy legislation. Their numerous privacy statutes protect personal privacy in a piecemeal fashion. The Privacy Act of 1974 gives individuals the right to access and correct information held by the federal government but did not cover private entities and state and local governments. The financial Modernisation Act also known as the Gramm-Leach-Bliley Act (GLB passed in November 2000 eased the state and federal restrictions among financial institutions in USA. The law allowed sharing of information, non-public for specific purpose and in specific situation. This raised the issue of privacy and it was demanded for notification to consumers about the institution's privacy policy and is given a chance to opt -out of information sharing with non-affiliated third parties. The survey confirmed about the widespread use of non-public information by joint marketers and affiliated institutions. Protection of non-public personal information (NPI) is must because it might lead to fraud by companies for unauthorised use. The following important legislation in USA on Consumer Privacy: 1. Fair Credit Reporting Act of 1970- in which credit agencies are required to make their records available, provides procedures for the correcting of information, and permits disclosure to authorized parties. 2. Cable Communications Policy Act of 1984- cable services are required to inform subscribers of the nature of personally identifiable information collected and the use of such information. The law restricts the collection and disclosure of such information by cable services. 3. Electronic Communication Privacy Act of 1986- The law extends Title III protections and requirements to new forms of voice, video data, and communications such as cellular phones, electronic mail, computer transmissions, and voice and display pagers. 4. Electronic Freedom of Information Act (1996) - The law allowed any person the right to obtain federal agency records unless the records are protected from disclosure by any of the nine exemptions contained in the law. 5. Health Insurance Portability and Accountability Act 1996- The law requires healthcare facilities to implement security policies and systems to protect patient confidentiality. HIPAA only covers the security of the information and does not address information sharing. 6. Children's Online Privacy Protection Act (1999)- The law prevents personal informat

Graphic Design in the 1950s Assignment Example | Topics and Well Written Essays - 500 words

Graphic Design in the 1950s - Assignment Example The assignment "Graphic Design in the 1950s" talks about the ways the graphic design was done in the 1950s. To follow Warhol's passage from commercial artist to the world star is to chart an intriguing transition. The term printing refers to an image consisting of pure black and white with no tonal gradation. For an image to be reproduced through letter press printing, it must meet or condition of line art. An ink drawing is a camera ready the both is economically expedient and visually direct, closely resembles the original. A typical illustration of the shoe by Andy, he demonstrates how a color image is produced from line art. Base layer carries an ink drawing of a patterned shoe, and the second layer on a transparent overlay elaborates the pattern. Most of the dramatic events in the history of graphic art were the invention of photography, whose impact was immediate. Before the introduction of the half tone process in the 18th century, wood engravers reproduced photographs by translating them by hand into patterns of black marks. The process of photographic was widely used in the printing of line drawing; illustration could prepare drawing of arbitrary dimension, which could be then photographically reduced. Some illustration continued to approximate the realism of photography and photographs remained the routine source material throughout the industry, many commercial artists worked to define the products of the hand against those of the camera, marketing drawing that was totally different.

The UK is a member of the European Union but has not adopted the euro Essay

The UK is a member of the European Union but has not adopted the euro as its currency. To what extent do the benefits of membership of a monetary union such as the Eurozone outweigh the costs - Essay Example It also aimed to enhance aggregate employment opportunities in these counties. In order to enhance the level of employability, EMU aims to enhance capital investment levels of its member states. Higher sustainability of pensions and public finances are also achieved in these countries through activities of EMU. The Union tries to improve social status of its member states by increasing the extent of welfare maximizing activities in such markets (Minford, 2010). EMU provides monetary assistance to its member states at times of emergency or crisis. If a country faces severe credit crunch and is unable to borrow money from the external market at particular rates, then it can avail the financial assistance facility of EMU. The country needs to firstly negotiate its borrowing program with the European Council and International Monetary Fund (Watt, 2014). The programme also needs to be accepted by other member states of the Union. Finally, after considering all legal regulations, the country receives the loan from European Central Bank (ECB). The amount, rates of interest, duration and procurement related activities are managed by European Financial Stability Facility (EFSF) unit (Minford, 2010). The EMU helps to stimulate economic growth within its member countries. For ensuring this, the Union tries to enhance the level of foreign direct investment (FDI) in these countries. Higher FDI inflow in encouraged by eliminating the transaction cost and lowering risks associated with exchange rate volatilities. Lesser exchange rate volatility helps in stabilizing the prices of goods and services in the market. Moreover, employability in these countries also reflects low fluctuation due to greater stability in wage rates. Transaction costs are the expenses incurred for selling and buying securities in the share market. Such costs are composed of payments of brokers and expenses of spreads. EMU eliminates

Planning and Organising International Business Enterprise in Russia Essay

Planning and Organising International Business Enterprise in Russia - Essay Example Longwell also estimated that to meet the expected demand almost 80 million oil-equivalent barrels might need to be added per day and this need to be done by 2010 (Longwell, n.d.) Demand of natural gas is increasing rapidly because world is looking for more environment friendly, efficient and clean energy source. So it is quite clear that there are huge business opportunities worldwide for the oil and gas exploring companies. There are many companies dealing with oil drilling technology, but most of these companies are from USA. It is a fact that Russia is one of the leading exporters of natural gas and oil. As far as oil reserves are concerned Russia is eighth in the world but the country is holding first position in terms of natural gas reserves. Saudi Arabia, largest oil exporter in the world, is the major competitor of Russia as far as oil exporting is concerned. In the field of natural gas Canada, United States and Norway are the major competitors of Russia as they also produce and export large amount of natural gas. So it can be assessed that the upcoming firm would face international competition to great extent. Even few years back, the technical aspects of oil drilling like horizontal drilling and hydrofracs were primarily provided by western nations but today many of the Russian companies also provide the services. The geographical environment is primarily favourable to the prospective oilfields in Russia as the country has vast resources of nature like oil, coal and natural gas. Most of the oil reserves in Russia are located in the Siberian region. But various factors like climate, distance and terrain act as obstacles in the process of exploration and production of oil and natural gas in the region. As far as economic conditions are concerned in 2008 Russia’s GDP growth rate was 5.6%. Since 1998 Russia had been able to retain its average growth rate at 7%. Major portion of its GDP comes from export of oil and natural gas. Country has almost

Math problem Essay Example | Topics and Well Written Essays - 750 words

Math problem - Essay Example This means that there is some question as to whether this sample is sufficiently random, and whether that sample accurately represents the population. Another question to ask is how representative the sample was, by having only 50 represented could result to sample size as reported in guideline 3 of the article. In addition, the data that is used comes from the parents, rather than a single observer. As a result, there is likely to be significant variation in the observed results. Lastly, the question one remains asking is that the conclusions made are based on what? The study does not tell us the values of comparison in order to reach at the conclusion, it is important to consider guideline 8 in making the conclusions since sometimes the comparison values could not be significant to warrant such a conclusion made. The data reported by the parents is essentially anecdotal, rather than being an actual measure of the childs activity or energy level. The parents perception of how active their child is at any particular moment may be affected by the parents own mood and tolerance for activity at the time. If a parent is feeling particularly harried or overwhelmed, a lesser level of activity on the part of their child may seem more "active" than usual. Conversely, if a parent is feeling less stressed, they may be more tolerant of activity before they reach the point where the activity of the child seems "high" or "excessive". In other words, the parents perception of the childs activity may be inconsistent (According to guideline 1 we would conclude that the type of study is not appropriate), both due to the lack of a standard scale of measurement, and by their own emotional state. Finally, this particular study was sponsored by a group that has a vested interest in the outcome. In particular, the stated outcome favors the company that sponsored the study-this is similar to what we observe in guideline 2 of the article. This calls

Industry analysis Essay Example | Topics and Well Written Essays - 750 words

Industry analysis - Essay Example The forces have profound impact on the industry and on the organization. The global economic recession will affect both the national economies and the organization. The consumers' disposable income will be reduced. The weak economy negatively affected software sales, increasing pressure on software firms' gross margins. This means that higher marketing and operational capabilities should be more important than R&D capabilities i.e. the ability to rapidly innovate. The technological environment consists of the skills and equipment used in design, production and distribution. R&D capabilities are thought to be particularly important in software industry. In this industry,being first to market is often essential to becoming the de facto standard. Given the rapid rate of change in the software industry, we would expect that firms having higher R&D capabilities would have a distinct advantage (Slaughter & Shanling & Shang, 2006). The demographic forces result from changes in the nature, composition and diversity of a population. More and more households use the Internet. The baby boomers age i.e. people that are over 54 are interested in using a computer.The education and entertainment software segment is growing very quickly (U.S. Department of Labor, 2006). On the business side, computer networks are pop... The trend in business customers is to have their data accessible, secure and private. On the other hand, the task environment includes immediate persons involved in producing, distributing and promoting the offering and therefore it includes internal and external factors that are influenced by the general environment. The task environment forces are suppliers, distributors, customers and competitors. The suppliers provide organization with inputs. The managers of the organization need to secure reliable input sources. The suppliers provide raw materials, components and even labor. In the case of the software industry the suppliers provide mainly components and service. It can be hard to work with suppliers' shortages and lack of substitutes. Suppliers who are in a good bargaining position are those that possess scarce items so they can raise the price. Managers' preference is to have many similar suppliers of each item. The distributors are organizations that help others to sell goods. Microsoft, which is a leader of the software industry, uses mainly wholesalers for selling its products to the SOHO market whereas Microsoft sells directly to the large customers. The distributors can threaten not to carry your product unless a strong brand name is established as it is in Microsoft's case whereas the actual power is in the hands of the producer. Customers are the people who buy the goods. For Microsoft, there are business, home and government buyers. The competitors are other organizations that produce similar goods. The most serious force facing managers is the rivalry between competitors. High levels of rivalry often means lower prices and profits become hard to find. Software industry is characterized by intense rivalry but due to the fact that the R&D

Lap 5 Assignment Example | Topics and Well Written Essays - 250 words

Lap 5 - Assignment Example Jupiter has a diameter of 142,800km while the sun’s diameter is 1,391,400km. Therefore, the ratio of Jupiter’s diameter to diameter of the sun is 238:2319. Moreover, Jupiter (142,800km) is the largest planet while Mercury (4,878km) is the smallest planet thus the ratio of the largest planet to smallest planet in terms of diameter is 23800:813. The planets seem to fall into groups based on size; smaller planets seem to be in a particular group while bigger planets seem to be in a different group such as Mercury, Mars, Venus and Earth are in one group while Jupiter, Saturn, Uranus and Neptune seem to be in another group. The surface composition of smaller planets in one group is rocky. Conversely, the surface composition of larger planets is gaseous and frozen gas. The two main differences are the surface composition and the size. The bigger planets also consist of rings, bringing out another clear-cut difference. Terrestrial group consists of Mercury, Mars, Venus and Earth while the members of Jovian group are Jupiter, Saturn, Uranus and Neptune. The difference between the prediction of Bode’s rule and the actual distances is negligible with a range of 0.01-0.02. The planets include Saturn and Neptune. One of the regularities in the planetary orbits discovered by Kepler is moving of planets around the sun in the same direction and the planets having nearly similar orbital planes (Topper

Air contaminants Essay Example | Topics and Well Written Essays - 250 words

Air contaminants - Essay Example Nitrogen Dioxide and Lead. Safe level of exposure can be determined. Toxic Air Contaminants: No safe level of exposure. Have over 250 compounds. Hazardous Air Pollutants: generally produced as by-products of industries. Greenhouse gases: Carbon dioxide, Methane, Nitrous oxide, fluorocarbons, Ozone. They promote climate change. Indoor air Pollutants: Mold, Volatile Organic Compounds, Radon, Ozone, Asbestos, Environmental tobacco smoke. Various methods can be adopted to sample the air pollutants occurrence and exposure in an environment. For Particulates: Cyclone is used for respirable dust sampling and works on the general principle of centrifugal and gravitational forces to separate aerosols into various size fractions. It is usually a 10mm cyclone and filter holder assembly attached to a low-flow pump and worn by the worker to obtain personal samples. Further there are many optical particulate direct reading instruments operating on the principle of the interaction between the parti cles and visible light such as Transmissometers and nephelometers. Smear technique is also used for identifying sites of contamination. Smear is done using a sterile swab that is rotated on the surface that is to be sampled. For Vapors and Gases: Electronic direct reading instruments are used based on the principles of amalgamation, chem.-luminescence, combustion, electrochemistry, infrared spectro-photometry and photo-ionization.

Community Assessment Essay Example for Free

Community Assessment Essay The name of my community is Buchanan County, Va. The total size of the area is approximately 504 square meters. (County Date, â€Å"n.d.†) The county was named after James Buchanan the 15th President of the United States. The approximate number of families in the community according to the U.S. Census is 6,866. (Population, 2010,) Buchanan County is a residential type of community. Buchanan County is a community with people who have been here from generation to generation. The community is a very family oriented community. Families are very close and always lived here all their life in this part of Virginia in this small pleasant community. The majority of houses in Buchanan County, VA are privately owned. Rental houses are of plenty in Buchanan. They are more trailers parks that are occupied and rented than rental houses. Most of the trailer parks and rental houses are in poor condition a lot of privately owned houses are in good condition. There’s maybe approximately 200ft in some areas between neighbors. The typical age of homes is 10-30 yr. old homes. Buchanan County has no subdivisions per driving thru the community. The population of the community is as follows: Infants as of 2007 where 203(Public records infants, 2007). The number of preschoolers are 149 which is 3%, Kindergarten 174 and 3.5%, grades 1-8 which is 2,089 and is 42.3%, grades 9-12 which is 1,132 and is 22.9%.(county assessment, 2011). Fifteen years and over marital status is as follows total is 22,457 (100%) of this age population, never married 4,069 (18.1%), now married 14,265 (63.5%), separated 641 (2.9%), , divorced 1,595 (7.1%), ages 30-34 is 1,418 (5.9%), ages 50-54 is 2,086 (8.7%), ages 85 and over is 308 (1.3%), and widowed 1,887 (8.4%).(census 2010, 2010) There are 10 public schools and 1 private in the county which are as follows Twin Valley Elementary/Middle School which is located in the Oakwood, VA area which is from PK-7 grade and has approximately 417 children receiving an education, Twin Valley High School which is located in the Pilgrims Knob, VA area which is from 8-12 grade and has approximately 286 children receiving an education, Grundy High School which is located in Grundy, VA which is from 9-12 grade and has approximately 472 children receiving an education, Hurley High School which is located in Hurley, VA which is from 8-12 grade and has approximately 257 children receiving an education, Haysi High School which is located in Haysi, VA which is from 9-12 grade and has approximately 284 children receiving an education, Hurley Middle School which is located in Hurley, VA which is from PK-7 grade and has approximately 419 children receiving an education. Council Elementary/Middle School which is located in Council, VA which is from PK-7 grade and has approximately 217 children receiving an education, Russell Prater Elementary School which is located in Vansant, VA which is from PK-5 grade and has approximately 116 children receiving an education, Riverview Elementary School which is located in Grundy, VA which is from PK-8 grade and has approximately 921 children receiving an education, JM Bevin’s which is located in Grundy, VA which is from K-5 grade and has approximately 132 children receiving an education, and Mountain mission is a private school located in Grundy, VA which is from PK-12 grade and has approximately 259 children receiving an education.(Schools, 2011) To the best of my knowledge I don’t believe we have any type of daycare facilities. Buchanan County has a head start program in the community. Almost every school has a Pre-k program. There is a public Library located in Grundy, Va. There is a vocational center at Grundy, VA as well. There are several forms of higher education, Southwest Virginia Community College at Richland’s, VA, Appalachian College of Pharmacy in Oakwood, VA, and Appalachian School of Law in Grundy, Va. As of 2007 there were 125 voters in Buchanan County, Va. (census 2010, 2010) There are several voting locations throughout the community. Most of the voting booths are located at most of the surrounding area schools. Most individuals may travel up to 10miles or more to get to a voting location depending on what area in the county you live in. Air pollution is of plenty in Buchanan County, Va. The Coke ovens of Jewel Smokeless Mines pollute the air with lots of smoke. The coke ovens are located at Dismal Road at Patterson, Va. U.S. route 460 is a very busy highway for all due to much travel from Richland’s, VA and Kentucky to Grundy, VA either to work or to get home. There are several bodies of water throughout the county. The most famous are the Levisa River and Dismal River both located throughout the county. The water source is county water from PSA which our major water source comes from John Flanagan Dam. The sanitation department is located in Grundy, Va. The noise in the county is not bad, but CNX has many ventilation fans that you can hear sometimes running circulating air throughout the underground mining systems. The only crimes I can find that are bad is substance abuse which the county had 991 total drug violations in 2000. (Buchanan County, 2000) The unemployment rate for the county is 7.30% which is high and the average household income is $29, 712. (Income, â€Å"n.d.†) The best occupations for men are to work for CNX in the mines or the gas well occupation. The best occupation for women is the healthcare occupation. The only new jobs in the county were with the coalfield express to make the highway better through the surrounding areas in Buchanan. The Health Department in Grundy, VA offers WIC for low income families and also several other government funds such as Tanf. There’s a food pantry in Grundy, VA. There’s a service called people incorporated that offer assistance such as shelter to children and mothers who have been abused. There’s a free clinic for surrounding areas for Buchanan, Tazewell, and Russell is the Reddy Tri County Health Clinic which is in Richland’s, VA. The stores in Buchanan County are Food city in Vansant, VA, Save a lot in Oakwood, VA, and Wal-Mart in Grundy, VA. All of these stores have healthy foods such as fruits and vegetables and other healthy products. The public transportation is as follows: There’s the County transit bus for all ages and incomes serving the Buchanan County, VA and surrounding areas, and the children have public school buses available for school transportation. There’s about an average of 7-8 red lights throughout the community. The average number of cars per each house as per driving and my observations in the community are about 2 per household. Most of the cars are in good shape. The recreational activities are of plenty in Buchanan. We offer many parks. Each area in the county has some form of recreation. The most famous of parks serving the Buchanan county areas and surrounding areas is the Breaks Interstate Park. The Breaks offers a new Water Park, hiking and biking trails, paddle boats, and Lovers Leap. There’s a park in each community most has a ball field with a track around it. There’s several public pools in the community they are at Twin Valley Elementary School in Oakwood, VA which also has a track and tennis court , the YMCA in Grundy, VA which also has exercise equipment, William P. Harris Park in Council, VA it also has a tennis and volley ball court with a ball field and several picnic shelters. These area parks are for all ages. The area has several churches and religions. The percent of religious people are 24.67%. The Non-religious percent of people are 8.1 %.(religion, â€Å"n.d.†) There are several churches in the community: Baptist churches, Church of Christ, Jehovah Witness, Presbyterian, Methodist, and Pentecostal. The percent’s are as follows: Baptist is 11.30%, Jewish is 0%, Methodist is 1.92%, Pentecostal 0.46%, Presbyterian 1.02%, and other is 9.81%.(religion, â€Å"n.d.†) The cultures in Buchanan are mainly white people (dominant culture) which accounts for 96.3%, black people are 2.8%, American Indian and Alaska Native people are 0.1%, Asian are 0.3%, People reporting two or more races are 0.5%, Persons of Hispanic or Latino origin are 0.4%, and White not Hispanic 96%. (Culture, 2011) The distance of most relatives in Buchanan County would probably be no more than 10-20 minutes away. The countys public water system was designed with the regulations and guidelines of the Virg inia Department of Health. The size of each fire hydrant and water line allow for 250 gallons of water to safely flow from the hydrant each minute. (Wampler, May 11, 2006) The closest police station is in Grundy, VA on Walnut drive, the sheriff’s office is in the same location as the police station. There is also the 29th circuit task force which is on Almarine Dr, in Grundy, VA. There are about 12 fires stations. The most used in the community is Grundy Volunteer Fire Department in Grundy, VA. Most families have locks and gates on their houses for safety. Maybe an average of 20 homes has alarm systems in this area. The numbers of clinics in the community are 10 and are community health clinics. There’s only one hospital in the community and that is Buchanan General Hospital. The only long term care facility is Heritage Hall on Slate Creek Rd. in Grundy, VA. The psychiatric facilities in the community are the Cumberland Mountain House in Keen Mountain, VA and the Baxter House at Oakwood, VA which educate and rehabilitate with group therapy. Patient education is provided by the clinics throughout the area, but mainly at Buchanan General Hospital in Grundy, VA. They are approximately about 15 or more ambulance services in the community. 911 is available in the community. They are several Home health agencies to help with families with disabilities. They are many pharmacies available in the community. A big shortage of Doctors and Dentists in the community. The community only has 69 doctors in the community and six dentists, but on the other hand nursing is of plenty 111.8 per person in Buchanan County, VA. ((Healthy people, 2009) Media Sources in Buchanan are newspapers Virginia Mountaineer and The Voice. Local TV is available our news stations are WCYB and WVVA. Cable is available from Time Warner. Cable and high speed internet are available from time warner and Verizon. Local radio stations are WMJD FM and WNRG AM. The main nursing diagnoses that stand out are: Actual problems with substance abuse, Risk for relocation as evidenced by a shortage of jobs, and Risk for poor health as evidenced by a shortage of healthcare workers. References Buchanan County. (2000). Retrieved July 5, 2012, from www.fedstats.gov/mapstats/arrests/county Census 2010. (2010). Retrieved July 5, 2012, from www.u.s.census.com County Data for Buchanan County, Virginia. (â€Å"n.d.†). Retrieved July 04, 2012, from http://www.landsofvirginia.com/county/detail/?id=5040 County assessment. (2011). Retrieved July 5, 2012, from www.buchanancountyonline.com/communityassessment2011.pdf Profile of general population and housing characteristics: 2010. (2010). Retrieved July 04, 2012, from http://factfinder2.census.gov/faces/tableservices/jsf/pages/productview.xhtml?src=bkmk Public records infants. (2007). Retrieved July 5, 2012, from www.openpublic-records.com/virginia/buchanan_county_public_records Schools. (2011). Retrieved July 5, 2012, from www.localschooldirectory.com/publicschool/88240/VA Wampler, J. (May 11, 2006, May). PSA Cracks Down on Water Thieves. Virginia Mountaineer, pp. 3. Retrieved from www.virginiamountaineer.com Culture. (2011). R etrieved July 6, 2012, from www.quickfacts.census.gov Healthy people of Appalachia. (2009). Retrieved July 6, 2012, from www.healthyappalachia.org/files/docs/word/BuchananDraft%5B1%5D.pdf Income.

A Wallet Full of Money and a Life Full of Nothing Essay Example for Free

A Wallet Full of Money and a Life Full of Nothing Essay In â€Å"Citizen Kane†, Orson Welles shows the viewer how an adult’s life can be tormented by their divested childhood. In his movie, Welles portrays Kane to be a man with the world in his hands yet he possesses nothing of sentimental value. Not being able to appreciate the people who surround him the way that they appreciate him, Kane turns to money and power to fulfill the love and affection he didn’t receive as a child. Welles portrays Kane’s robbed childhood, his vanity, and his hunger for power as the cause to Kane’s failed relationships and his lonely death. Shortly after the beginning of the movie, Welles uses symbolism to expose how Kane’s childhood innocence and purity had been taken from him at an early age. In this scene, Kane is out playing in the pure and white snow, which can be interpreted as Kane enjoying his innocent years in the essence of purity that comes with childhood. When his parents, along with Thatcher, go outside to inform him about his trip, Kane uses his sled as a defensive tool against Thatcher. This can be a reflection on why Kane never accepted Thatcher’s attempts at discipline and guidelines. Kane saw Thatcher as the person who deprived him of his childhood and took him away from his most prized possession, which was Rosebud, his sled. Towards the end of the scene, the sled is left out in the snow for years as the snow begins to pile up on it; this could be seen as a metaphorical correlation to Kane leaving his innocence and the purity of his childhood to become a man with a polluted soul who is ruled by money and power. As Kane grows up to become a man of wealth and power, many of his personality issues can be traced back to his childhood upbringing. The viewers are given an insight to the controlling and manipulative person Kane is when they come across the scene where Kane walks into the Inquirer and tells the editor-in-chief that he is literally going to live in his office. Because he couldn’t control his unsatisfactory childhood upbringing, Kane grew up to be an awfully controlling man. His controlling personality then led him to publish subjects that would on ly bring him attention. As a child who was taken away from his parents at only eight years old, he wanted all  the attention possible, hence the deceptive subjects he would publish. Kane’s childhood lacked the essentials of parental love and attention, which later transformed him into an egocentric, power-hungry monster. Possessing both money and power, Kane became obsessed with himself; the more power he obtained, the more he felt in need of it. At the age of twenty-five, Kane buys the New York Inquirer without even the slightest clue on how to run a newspaper business. One can thus determine that Kane would use his money to help him gain a voice. Kane never cared about his money, or the spending of, because he had plenty of it. What Kane really wanted was to affect the people. His original plan, when taking over the Inquirer, was to help and become the voice of the poor and underprivileged, but he quickly forgot about his promises, as he continually grew more and more corrupt by printing stories that would only get him attention. His hunger for power became bigger than him when he ran for Governor of New York and would print insulting cartoons of his opponent. Kane started out with a plan that would affect the people in a positive way but consequently became a highly unlikeable man who would only t hink about the power his money could bring to him. Not only was Kane a man who wished for more power but also he was a man who was also ruled by vanity. Throughout the movie, Welles interprets Kane’s vanity by showing the viewer how Kane would use his controlling personality to make sure all his surroundings were nothing but perfect. A good example of this is when Leland writes a newspaper article about Susan’s mediocre singing skills and Kane reads it. After he reads Leland’s notice, he is determined to make Susan a better singer so he forces her to train and perform in numerous cities. Because of his vanity, Kane is concerned with the public’s opinion of his wife. He does not want to be known as the man who married a singer with amateur singing skills. Welles also does a magnificent job in portraying Kane’s vanity in the scene where Susan leaves him and all Kane is truly worried about is all the guests in Xanadu who might witness her departure. How he appears to the public is much more important to him than the fact that his own wife is leaving him. As a man who was drunk on his own power and rule d by his vanity, Kane failed to see how much he would hurt the people who were closest to him, especially his second wife, Susan. Ever since he met her, the first sign of his complicated personality was shown when he demanded her to sing for him. In that scene,  the viewer could foresee the kind of controlling and demanding spouse Kane would be. Throughout their relationship, one could notice how he would treat Susan more as an object than his wife. By forcing her to perform and become a better singer, he was treating her as one of his statues. His statues were beautifully sculpted and that is what he wanted Susan to be. A beautiful woman who lacked a beautiful voice was not an option for the wife of Charles Foster Kane. As Susan grew tired of Kane being absent most of the time and being forced to live in their home as one of his many statues, she decided to leave him. Kane always treated people as if they were his property and Susan was no exception. When she informed Kane of her intention to abandon him, he said to her, â€Å"you can’t leave me† which goes to show how he thought of Susan as one of his statues. Kane’s statues would literally and physically never leave him, which is why he was shocked by Susan’s decision. When she does leave and Kane can’t do anything about it, he becomes f ull of anger and destroys Susan’s room. For a man who was just left by his wife, his anger towards her is also a big sign to the viewer that Kane only saw her as his property. Because of so many failed relationships throughout his life, a man of endless wealth and power ends up in his deathbed alone with no one to care for him. Throughout the movie, as Thompson goes on a search to figure out the meaning behind Kane’s last words before his death, the viewer is exposed to the many reasons why Kane died a lonely man. His relationship with Thatcher never developed further because Kane always saw him as the person who robbed him from sharing his childhood years with his family. The friendship he had with his closest friend ended when he fired him because of a simple statement that offended his vanity. The relationship with his first wife not only ended because of his infidelity but also because of his need for more power. Kane would spend more time at the Inquirer than with Emily, which made the relationship bound to terminate. Last but not least, his relationship with Emily was a complete failure because he saw her as an object as opposed to his wife. Every person who would get emotionally close to Kane would eventually end up leaving him. As a result of his big ego, Kane never managed to develop relatio nships with those who surrounded him therefore, the only company he had while lying in his deathbed was a snow globe and his childhood memories. As one can conclude, because of his miserable childhood, Kane grew up to lead a life  full of luxury and riches but he lacked the true meaning of life- to live. Money only bought him objects and power but never bought him true love of any kind. His last words were in reference to an object that he owned as a child and that goes to show that his only happy memories were back when he lacked the fortune he now had. Kane’s robbed childhood, vanity, and his hunger for power were the reasons why Kane lived such a lonely and unfulfilled life up until the day he died.

Bunraku Theater and Kathakali Dance Drama

Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. . Bunraku Theater and Kathakali Dance Drama Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. .