Influence of Music Essay Example for Free

Influence of Music Essay Music and radio has roots in American culture and the way society is today. The different types of music genres have shaped American culture and social behavior of Americans. Audio media has had a major affect and influence on the attitudes of Americans and especially today’s youth and young adults. Music and radio has given American culture its values, the way that jazz, blues, and RB created rock roll, music created American culture. Music appeals to young adults, and youth as an escape to the hard times of real life. Drawn by the explicit lyrics and beats, the youth always searches out for music to dance to and music to connect with. American culture has been steadily changing due to music and what is known as pop culture. The need to be accepted in a certain social group has a lot to do with music. Music brought a cultural shift in the race segregation, black artists playing music with white artists and for mixed audiences. American culture before the 50’s was a strict segregation culture and music allowed for the barrier to be broken. Artists using sexual innuendoes and other antics changed what was the norm of morals and values and put a more â€Å"lax† outlook on such things. Music has influenced the openness of sexuality and sexual orientation. More and more artists are open about their sexuality, making it more of a normal thing in American Culture. Being gay used to be shunned, and now it is openly celebrated. All of these things are because of music. The radio started playing what was known as â€Å"race† music on white stations and this made it so a lot of different Americans can hear and be exposed to a broad range of music. Becoming more acceptable rock and roll, punk, and hip hop have had an impact on the teens and young adults of American culture. The 80’s brought the rebelliousness out of teens with punk rock music, while the 90’s hip-hop has had a big effect on fashion and attitudes of people. Music has shaped American culture in many ways, a way of expressing one’s opinions and bringing groups of people together with similar ideals and opinions. A way of bringing what was different cultures together and making one culture, The American Culture. Rock and Roll is a genre of music that has forever changed the social behavior of Americans. Rock and roll has influenced American culture in the daily life, fashion and attitudes of most Americans. Rock and Roll broke the race barricade, forming in a time of a civil rights movement. Rock and roll was a new form of music that encouraged desegregation. Evolving black artists and white artists playing black music, rock and roll changed the way American culture accepts what was once taboo. Rock and roll put a perception of sex, drugs, and alcohol to be accepted and what is considered â€Å"cool†. Artists singing about doing drugs, or hooking up with random woman made it something to be idolized. Rock and roll influenced young adults to engage in risky behavior. Now is American culture, these things are almost considered normal. Rock and roll shaped fashion and is continuously changing fashion. Fans copy styles of their favorite artists as a way to express one’s self. From ripped up, tight, or baggy pants, long hair, colored hair, or shaved heads, the fashion is always changing. Some fashions coming back and making another appearance in American culture, a lot of fashion comes from Rock and roll. Piercings and tattoos once forbidden, is becoming more and more acceptable in American culture. It is not strange to see business people and stay at home moms with tattoos. Rock and roll has influenced this change in American culture and tattoos are â€Å"normal†. Rock and roll artists have changed the way sexuality and sexual orientation is looked at. Rock and roll has made it okay to be gay and okay to dress how someone wants. Rock and roll has given the care-free attitude to young adults. American culture has changed into a â€Å"screw society, morals and values† type of attitude, based on what rock and roll has made society. Rock and roll has given a sense of community to certain groups of people who share ideals and values, and brings them together into a certain setting. Rock and roll has had a major effect on social behavior of Americans and American culture. Music does affect social behavior and attitudes of Americans. Music gives people an outlet to express their opinions. Audio media has links to American cultures in every decade, changing and molding American into what it is today. Since the 1700’s even, people have sought out music as a way to connect to others. Audio media is an ever changing thing, which will always reflect on the social behavior and attitudes of Americans.

Pornography -- An Epidemic? Essay -- Exploratory Essays Research Paper

Pornography -- An Epidemic?    The subtopic being examined in this segment of pornography as a whole, is that of violent pornography. In order to understand what is going to be discussed and the examples that will be cited, one must understand the context of violent pornography in relation to Pornography as a whole. But as this section will conclude, it is actually the widespread viewing of pornography as represented through the media, which leads to violent actions.    To begin with, the words violence and pornography must be separated and distinguished between. When these words are used together, one can get the impression that only à ¾hard-coreà ¾ pornography is the issue at hand. But there is a greater evil, and à ¾hard-coreà ¾ is only the finishing element in a long chain of reactions. Rather, the words violent and pornography are going to be à ¾interpretedà ¾ as separate elements; the interpolated meaning now changes. The following discussion will attempt to prove the relation between pornography and the violent reaction it instills in its à ¾victimsà ¾. It is this relation which is far more important, and deadly, than à ¾hard-coreà ¾ is as a singular element.    One of the most important examples, which will be discussed at great length, is that of convicted murderer Ted Bundy, who was electrocuted in February 1989 for the known murders of at least 23 young women. Some figures estimate that number to be as many as 100. Not much was known about the personal life of the man who was 42 when he was put to death, but in a one hour interview that was given by James Dobson, President of Focus on the Family, 16 hours before Bundyà ¾s execution, Bundy revealed,... ... pornography is just expressing ones self; to others, ità ¾s considered an art form. But studies have shown that this à ¾art formà ¾ is the chief cause of many murders and rapes that occur in the United States. And it doesnà ¾t start with à ¾hard-coreà ¾. The early stages of erotica are actually the start.    In conclusion, the question of whether pornography is an epidemic or not is rhetoric. Ità ¾s obvious that it became an epidemic decades ago -- it has simply become entrenched in society. As has been shown in medical professions, the only way to deal with an epidemic is to find a cure which will obliterate the cancer. This situation is no different. Pornography leading to violence in society is a cancer which is growing larger every day. Perhaps without the influence of pornography, society would be just a little less violent.

American Music and Culture

American Music and Culture: Jazz Dance Jazz dance, is defined as any dance to Jazz accompaniments, composed of a profusion of forms. Jazz dance paralleled the birth and spread of Jazz itself from roots in black American society and was popularized in ballrooms by the big bands of the swing era (1930s and '40s). It radically altered the style of American and European stage and social dance in the 20th century. The term is sometimes used more narrowly to describe popular stage dance (except tap dance) and Jazz-derived or Jazz-influenced forms of modern dance.It excludes social dances lacking Jazz accompaniment ?† the rumba and other Latin-American dances. The original steps were exemplified out in the plantations, and Jazz dance itself came about as a crossbreed of American culture, European Jigs and the music and movement were tradition of the African slaves. Jazz music obviously inspired some of the first documented Jazz dance choreography, and this further adds to the rich and diverse history of Jazz dance.Europe lent elegance to the technique; Africa gave it its movement and rhythm, and America allowed it to have the exposure and growing popularity that has sustained it as a cherished dance style today. Jazz dance developed from both 19th- and 20th- century stage dance and traditional black social dances and their white ballroom offshoots. On the stage, minstrel show performers in the 19th century developed tap dancing from a combination of Irish Jigging, English clog dancing, and African rhythmic stamping.Tap dance and such social dances as the cakewalk and shuffle became popular vaudeville acts and appeared in Broadway revues and musical comedies as these replaced vaudeville early in the 20th century. In addition, comedy, specialty, and character dances to Jazz rhythms became standard stage routines. By the 1940s elements of Jazz dance had appeared in modern dance and in motion picture choreography. The History of Jazz Dance During the early 1900's we find more and more blacks performing outside of the narrow stereotype of the minstrel show. Again the traveling shows spread the music and dance culture of black people far and wide.In addition to the spreading of culture, there was another important aspect to the events taking place: it was the beginning of the musical theatre. The black musical revue offered comedians, singers and dancers an opportunity to perform without making fun of their race. Out of such erformances, one became aware of new dance developments: cakewalks, grinds, comedy dance, etc. Another important factor in this discussion on the historical development of modern Jaz dance is always the constant dance involvement and development in the everyday lives of black people.Dance has always been a part of the expression of black people in church, at social gatherings, etc. Probably the social or vernacular dance, as Stearns calls it, is more important than any one particular form that evolved out of it. So as the da nce of the musical revue evolved, it was directly associated with and tied to the everyday dance of the people. Prior to 1900 there were such black shows as The South Before the War, The Creole Show, Oriental America, etc. Many of the dance movements associated with Jazz dance can be traced to Atrican intluences.Slaves captured in Atrica brought their dancing traditions across the Atlantic. Once in the new country, the African slaves continued to use dance as a means of self-expression and an emotional outlet, despite being forbidden to dance by their owners. Until the mid 1950s, the term â€Å"Jazz dance† often referred to tap dance, because tap dancing (set to Jazz music) was the main erformance dance of the era. During the later Jazz age, popular forms of Jazz dance were the Cakewalk, Black Bottom, Charleston, Jitterbug, Boogie Woogie, Swing dancing and the related Lindy Hop.Although the stage popularized certain social dances, many others were transmitted mainly in social gatherings. The dances that gave rise to social forms of Jazz dance developed from rural slave dances. In both early dances and 20th-century Jazz dances, there is a noticeable continuity of dance elements and motions. The eagle rock and the slow drag (late 19th century) as well as he Charleston and the Jitterbug have elements in common with certain Caribbean and African dances.In addition, the slow drag contributed to the fish of the 1950s; the ring shout, which survived from the 18th into the 20th century. After the 1950s, pioneers such as Katherine Dunham took the essence of Caribbean traditional dance and made it into a performing art. With the growing domination of other forms of entertainment music, Jazz dance evolved on Broadway into the new, smooth style that is taught today and known as Modern Jazz, while tap dance branched off to follow its own, separate evolutionary path.The performance style of Jazz dance was popularized to a large extent by Bob Fosses work, which is exe mplified by Broadway shows such as Chicago, Cabaret, Damn Yankees, and The Pajama Game. Modern Jazz dance continues to be an essential element of musical theatre, and it can often be seen in music videos and competitive dance. Jazz Dance Techniques Throughout its history, Jazz dance has developed in parallel to popular music. This pattern of development has resulted in a few elements of movement key to the dance style, the most important being that Jazz is they physical embodiment of the popular music of a given time.An example of this is that during a down time of Jazz dancing from 1945-1954, when big bands and dance halls were declining, the vernacular of the dance followed less Jazz music and leaned more toward rock and roll, creating moves like â€Å"The Monkey† and â€Å"The Jerk† Syncopated rhythm is a common characteristic in Jazz music that was adapted to Jazz dance in the early twentieth century and has remained a significant characteristic Isolations are a qu ality of movement that were introduced to Jazz dance by Katherine Dunham.Improvisation was an important element in early forms of Jazz dance, as it is an important element of Jazz music. A low center of gravity and high level of energy are other important identifying characteristics of Jazz dance. Jazz, tap and musical theatrical dance are â€Å"cousins. † These forms of dance are tied to everyday music, songs and rhythms. Jazz dance involves a range of lively, often sensuous body movement and percussion techniques, with a mix of tap steps, social dances and ballet.New forms of Jazz dance developed with new music, such as the Charleston, swing, rock and roll, and the Caribbean reggae. Other elements of Jazz dance are less common and are the stylizations of their respective choreographers one such xample are the inverted limbs and hunched-over posture of Bob Fosse. Fosse was an American actor, dancer, musical theater choreographer, director, screen- writer, tilm editor and til m director. He won an unprecedented eight Tony Awards tor choreography, as well as one for direction.He was nominated for an Academy Award four times, winning for his direction of Cabaret (beating Francis Ford Coppola for The Godfather). His third wife, Broadway legend Gwen Verdun, helped to define and perfect his unique and distinct style simply referred to today as â€Å"Fosse. â€Å". Jazz Dance Pioneers and African Americans Katherine Dunham was an anthropologist fascinated by dances of the Caribbean. She researched them and then devised her own style of dance and teaching methods. She went on to dance on Broadway and to form her own school.Her school in New York was very influential in the 1950s and her technique of pelvic and spine isolations is now a part of almost every Jazz class. Jerome Robbins was the greatest Broadway Jazz choreographer of our time. He dealt with action, humor and adolescent themes in his Broadway musicals and films. He choreographed Fancy Free and Wes tside Story among others. His choreography was powerful and appealed to huge audiences. His influence on Broadway is still felt today. Gus Giordano has received many awards for his outstanding lifetime contribution to Jazz dance.He has been involved in all facets of dance: dancer, teacher, choreographer, author, and founder of Gus Giordano Jazz Dance Center in Chicago. Giordano's book, Anthology of American Jazz Dance , was the first book of its kind and was instrumental in helping turn the study of Jazz dance into a respectable and important American dance form. Gus has been involved in dance for T. V. , film, stage and commercials. His companys current goals are to seek out talented new choreographers and dancers and highlight their work.Also to educate, as well as create, an awareness of Jazz dance as a true artistic expression of American life, both nationally and internationally. Major Events of Jazz Dance and Jazz Dance Today In 1931, when the New Negro Art Theatre presented a recital which included a suite of interpretive dances based on Southern spirituals, old limitations were defied and a precedent was established. 6 A pioneer black dancer in the interpretive field, Hemsely Winfield, was the moving spirit behind the program.The suite dealt with an area of black life which had never before been presented through dance on the stage. The subject matter and approach of the dance went beyond the scope of the black dance tradition and in doing so the suite set a precedent for future interpretive presentations of black music and dance. Vaudeville, or the variety show, was initially a European tradition of traveling performers moving from town to town with their skits, songs and dances. In America, this provided opportunity for a range of popular entertainers to thrive, such as Bill â€Å"Bojangles† Robinson a black tap dancer.Show ancers Fred Astaire and Ginger Rogers blended flowing ballet movements with more abrupt rhythmic movements of Jazz. Conce rt Jazz dance developed as a revue or series of separate Jazz dance productions. Musical comedy/theatre evolved from variety shows. Themes, story lines and chorus work developed into the musical theatre we know today. Agnes de Mille, who choreographed Oklahoma, elevated the impo rtance ot dance in the theatre prod uction. Today, Jazz dance is present in many different forms and venues. Jazz dance is commonly taught in dance schools and performed by dance companies around the world.

Bridge at Remagen in World War II

The capture of the Ludendorff Bridge at Remagen occurred on March 7-8, 1945, during the closing stages of World War II  (1939-1945). In early 1945, American forces pressed towards the west bank of the Rhine River during Operation Lumberjack. In response, German forces were ordered to destroy the bridges over the river. As the lead elements of the US 9th Armored Division approached Remagen, they found that the Ludendorff Bridge over the river was still standing. In a sharp fight, American forces succeeded in securing the span. The capture of the bridge gave the Allies a foothold on the eastern bank of the river and opened Germany to invasion. Fast Facts: Bridge at Remagen Conflict: World War II  (1939-1945)Dates: March 7-8, 1945Armies Commanders:AlliesLieutenant General Courtney HodgesMajor General John W. LeonardBrigadier General William M. HogeCombat Command B, 9th Armored DivisionGermansGeneral Edwin Graf von Rothkirch und TrachGeneral Otto HitzfeldLXVII Corps A Surprise Find In March 1945, with the bulge caused by the German Ardennes offensive effectively reduced, the US 1st Army launched Operation Lumberjack. Designed to reach the west bank of the Rhine, US troops quickly advanced on the cities of Cologne, Bonn, and Remagen. Unable to halt the Allied offensive, German troops began falling back as the fortifications in the region were penetrated. Though a withdrawal over the Rhine would have been prudent to allow German forces to regroup, Hitler demanded that every foot of territory be contested and that counterattacks be launched to regain what had been lost. This demand led to confusion along the front which was worsened by a series of changes in command an unit areas of responsibility. Aware that the Rhine posed the last major geographic obstacle to Allied troops as fighting moved east, Hitler ordered the bridges over the river destroyed (Map). On the morning of March 7, lead elements of the 27th Armored Infantry Battalion, Combat Command B, US 9th Armored Division reached the heights overlooking the town of Remagen. Looking down at the Rhine, they were stunned to find that the Ludendorff Bridge was still standing. Built during World War I, the railroad bridge remained intact with German forces retreating across its span. Initially, officers in the 27th began calling for artillery to drop the bridge and trap German forces on the west bank. Unable to secure artillery support, the 27th continued to observe the bridge. When word of the bridges status reached Brigadier General William Hoge, commanding Combat Command B, he issued orders for the 27th to advance into Remagen with support from the 14th Tank Battalion. Racing to the River As American troops entered into the town, they found little meaningful resistance as German doctrine called for rear areas to be defended by Volkssturm militia. Moving ahead, they found no major obstacles other than a machine gun nest overlooking the town square.  Quickly eliminating this with fire from M26 Pershing tanks, American forces raced forward as they expected the bridge to be blown by the Germans before it could be captured. These thoughts were reinforced when prisoners indicated that it was scheduled to be demolished at 4:00 PM. Already 3:15 PM, the 27th charged ahead to secure the bridge. As elements of Company A, led by Lieutenant Karl Timmermann, moved onto the bridges approaches, the Germans, led by Captain Willi Bratge, blew a 30-foot crater in the roadway with the goal of slowing the American advance. Reacting swiftly, engineers using tank dozers began filling the hole. Possessing around 500 poorly-trained and equipped men and 500  Volkssturm, Bratge had desired to blow the bridge earlier but had been unable to secure permission. With the Americans approaching, the majority of his  Volkssturm melted away leaving his remaining men largely clustered on the east bank of the river. Ludendorff Bridge and Erpeler Ley tunnel at Erpel (eastern side of the Rhine) – First U.S. Army men and equipment pour across the Remagen Bridge; two knocked out jeeps in foreground. Germany, March 11, 1945.   National Archives and Records Administration Storming the Bridge As Timmerman and his men began pressing forward, Bratge attempted to destroy the bridge. A massive explosion rocked the span, lifting it from its foundations. When the smoke settled, the bridge remained standing, though it had suffered some damage. Though many of the charges had detonated, others had not due to the actions of two Polish conscripts who had tampered with the fuses. As Timmermans men charged onto the span, Lieutenant Hugh Mott and Sergeants Eugene Dorland and John Reynolds climbed under the bridge to begin cutting the wires leading to the remaining German demolition charges. Reaching the bridge towers on the west bank, platoons stormed inside overwhelming the defenders. Having taken these vantage points, they provided covering fire for Timmerman and his men as they fought across the span. The first American to reach the east bank was Sergeant Alexander A. Drabik. As more men arrived, they moved to clear the tunnel and cliffs near the bridges eastern approaches. Securing a perimeter, they were reinforced during the evening. Pushing men and tanks across the Rhine, Hoge was able to secure the bridgehead giving the Allies a foothold on the east bank. The Ludendorff Bridge on March 17, 1945, approximately four hours before its collapse. National Archives and Records Administration Aftermath Dubbed the Miracle of Remagen, the capture of the Ludendorff Bridge opened the way for Allied troops to drive into the heart of Germany. Over 8,000 men crossed the bridge in the first twenty-four hours after its capture as engineers frantically worked to repair the span. Infuriated by its capture, Hitler swiftly ordered the trial and execution of the five officers assigned to its defense and destruction. Only Bratge survived as he had been captured by American forces before he could be arrested. Desperate to destroy the bridge, the Germans conducted air raids, V-2 rocket attacks, and frogman assaults against it. In addition, German forces launched a massive counterattack against the bridgehead with no success. As the Germans were attempting to strike the bridge, the 51st and 291st Engineer Battalions built pontoon and treadway bridges adjacent to the span. On March 17th, the bridge suddenly collapsed killing 28 and wounding 93 American engineers. Though it was lost, a substantial bridgehead had been built up which was supported by the pontoon bridges. The capture of the Ludendorff Bridge, along with Operation Varsity later that month, removed the Rhine as an obstacle to the Allied advance.

Ishmael in Herman Melvilles Moby-Dick - Free Essay Example

Sample details Pages: 6 Words: 1692 Downloads: 2 Date added: 2019/05/08 Category Literature Essay Level High school Tags: Moby Dick Essay Did you like this example? In Herman Melville’s Moby-Dick, Ishmael asserts himself as both the narrator and the central consciousness of the novel by chronicling his account of the Pequod’s final voyage. As he recounts the struggles of his physical journey, Ishmael shows that he has also survived a spiritual journey to find his sense of self. By retelling and analyzing his time as a crewmember of the Pequod, Ishmael continues to try to understand the purpose behind his solitary existence and eventually embraces it as a part of God’s mysterious Providence. Ishmael sees himself as an exile of the world who is doomed to drift without a home to return to. He begins his narration by naming himself after a Biblical figure: â€Å"Call me Ishmael† (Melville 18). The lack of last name suggests that like Abraham’s first and lesser loved son, Ishmael has been un-rooted and thrown out of his family. He considers himself to be an orphan, although he uses the word only at the conclusion of his journey when he is left as the sole survivor: â€Å"It was the devious-cruising Rachel†¦ only found another orphan† (427). This sentiment demonstrates the loss he has experienced through the Pequod’s shipwreck and the affinity he felt for its crew. In contrast, the only family member who describes in his narration is his â€Å"stepmother who, somehow or other, was all the time whipping me, or sending me to bed supperless,† and who isolates Ishmael even within his house (37). This forced physical separation is what preve nts him from regarding the house he grew up in as home and which keeps him drifting without a sense of belonging. This loneliness develops into isolation, which causes Ishmael to separate himself from others and observe them from a distance. This allows him to see beyond conventional beliefs and question societal norms, but also deepens his isolation. Don’t waste time! Our writers will create an original "Ishmael in Herman Melvilles Moby-Dick" essay for you Create order This isolation continues to trouble Ishmael throughout the years, to the extent that he considers it deadly. When his stepmother punishes him by sending him to bed, he describes that he â€Å"lay there dismally†¦before I could hope for resurrection,† comparing the isolation to death (37). He emphasizes how much he hates this solitary confinement by begging for any other punishment but burial in bed, because the maddening boredom that comes from isolation causes him to feel like dying a painful, spiritual death. This lonely boredom causes him to view his life as being so meaningless that he feels himself driven to the breaking point, even to the point of considering suicide, â€Å"involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral† he encounters (18). But instead of giving in to this impulse, he chooses to go to sea as a â€Å"substitute for pistol and ball† (18). This voyage onto the water symbolizes his desire to reviv e himself and to get back in touch with himself and humanity. He seeks an end to his perceived isolation and believes that he may do so on the water, where â€Å"here they all unite† (19). To Ishmael, the attraction to water is one of the universal characteristics of men, representing their common desire to see meaning and purpose in the reflections they cast, and to catch the â€Å"ungraspable phantom of life† that eludes us all (20). As he observes that these â€Å"water-gazers† spiritually unite, he realizes that the sea unites people even in their most isolated moments (43). This idea is further emphasized when he sees people looking at the gravestones in the chapel unite through the â€Å"silent grief† that â€Å"were insular and incommunicable,† caused by the sense of vulnerability and mortality of the sailors at sea (43). Once he joins the Pequod, he proclaims â€Å"I, Ishmael, was one of that crew; my shouts had gone up with the rest; my oath had been welded with theirs† (152). Unlike on land, where Ishmael drifts without aligning himself to anyone or any cause, he becomes committed to Ahab’s quest, and this becomes his purpose for the duration of the voyage. Captain Ahab’s greatest influence over Ishmael does not result from direct interaction, but rather from Ishmael’s observations of Ahab’s struggles against himself and against the world. Ishmael clearly sees that Ahab’s obsession with Moby Dick has driven him to madness, and that he believes that control over this madness is beyond the boundaries of his free will. When Ahab questions â€Å"Is Ahab, Arab? Is it I, God, or who, that lifts this arm?† Ishmael sees Ahab’s confusion in his identity, between the Ahab who desires to return to his family and the Ahab who is destined to spend his life chasing Moby Dick (406). This concept of free will against fate becomes an important theme in Ishmael’s narrative. As Ahab gets closer to Moby Dick, he becomes completely consumed by the idea of destroying all evil through Moby Dick, allowing Fate to take over his free will, as Ahab concludes that his identity is the â€Å"Fates’ lieutenantà ¢â‚¬  who â€Å"act under orders,† and not his free will (418). Ishmael, who observes the tangling of free will and fate through Ahab, begins to understand that God’s will comes in the form of â€Å"springs and motives which being cunningly presented to me induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment† (22). In short, while people may believe they act on their own accord, these actions are actually predetermined by God. Ahab’s comparison of life to a play also resonates with Ishmael. When he recalls that Ahab said, â€Å"This whole act’s immutably decreed. ‘Twas rehearsed by thee and me a billion years before this ocean rolled† Ishmael sees that Ahab believes that his endless quest for revenge against Moby Dick was preordained (418). This causes Ishmael to consider his own role in the voyage, perceiving that â€Å"my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago† and â€Å"those stage managers, the Fates, put me down for this shabby part of a whaling voyage† (22, 418). Although he sees his own role as a â€Å"shabby† one and compares himself to others who were cast for â€Å"magnificent roles in high tragedies† and â€Å"short and easy parts in genteel comedies†, he accepts his fate, and in doing so, he shows that he understands that is life is not without meaning. Even th e boredom and loneliness that has constantly plagued him now take the form as catalysts for his joining the Pequod. As Ishmael begins considering the role of God’s Providence in his life, he is still unable to grasp its true significance. However, by looking back at the series of decisions it took for him to join the Pequod, Ishmael begins to understand â€Å"the springs and motives which†¦ induced me to set about performing the part I did,† that even his loneliness and isolation has a greater end as a part of the God’s plan (22). In fact, fate, destiny, and Providence go beyond the boundaries of Christianity for Ishmael and allows him to eventually see and treat Queequeg without prejudice. Although he, like most of his compatriots, was initially terrified of Queequeg, the friendly affection that he shows to Ishmael wins him over. After observing Queequeg’s character and noting that this supposed savage seemed to â€Å"have an innate sense of delicacy† and proved â€Å"essentially polite†, Ishmael compares him with the Christians he has known (38). He remarks that â€Å"Christian kindness has proved but hollow courtesy† and questions who is truly the more civilized (56). Eventually, he concludes that religious worship comes in the form of obeying the will of God, and that what God essentially requires of men is â€Å"to do to my fellow man what I would have my fellow man do to me† (57). This allows him to realize that like Ishmael, Queequeg craves understanding and acceptance which Ishmael decides to give. In this way, it is Ishmael’s loneliness and his craving for human connection that allow him to be open minded about living so closely with a cannibalistic heathen. Without any special attachments to Western religion, culture, or societal norms, Ishmael sees beyond Queequeg’s fierce appearance and appreciate his humanity and compassion. Queequeg reciprocates these feelings, and it is the coffin he builds that eventually saves Ishmael’s life. Ishmael suggests that God facilitated his intimacy with Queequeg so that he could emerge as the sole survivor of the Pequod. In hindsight, Ishmael believes he was â€Å"mysteriously drawn towards† Queequeg and that the bond between them goes beyond human comprehension (56). He frequently alludes to marriage, describing their relationship as one that â€Å"naught but death should part us twain† and marveling that â€Å"he would gladly die for me† (38, 56). The strength of their bond surprises even Ishmael, and in Queequeg, he finally find the closest thing to familial love that he has ever experienced. Furthermore, Ishmael describes how Queequeg’s coffin â€Å"liberated by reason of its cunning spring†¦the coffin life-buoy†¦floated by my side† it transforms from a container of death to a chance at resurrection ? the same sort of resurrection that Ishmael desired from his cruel exile to bed during his childhood (427). To Ishmael, Queequegâ⠂¬â„¢s death allowed Ishmael to live, and this sacrifice gives his lonely existence value and significance. By the time he finishes retelling his account, Ishmael has grown from a lonely and restless young man to a mature man who now understands that he has a place in God’s Providence. He sees that his isolation has shaped him into an individual capable of observing and assessing situations objectively, and it has prepared him to fulfill God’s plan that he live to retell his narrative. However, just as Ahab fell to his demise without fulfilling his quest to master Moby Dick, Ishmael cannot fully understand the mysteries of his existence while he remains alive (20). Although Ishmael now recognizes that, this reflection of self in the water that â€Å"is the key to it all† (20) still compels him to continue searching for further meaning, leading to the retelling and revisiting of his journey.

What Does Business Mean - 1293 Words

What does business mean to me? Another way of saying commerce? A term that describes production, purchasing or selling? In my point of view, business is a fabulous world where to consult financial situations, expressing the passion in interacting commercial cases. Because I enjoy the beauty of this business world, there is no doubt in my mind that I want to take global business and advertising, marketing, and consumer culture at your summer school. I have been researching on several summer schools, which provide business related courses. However, the only program that caught me attention is the Cambridge Tradition. Not only because the great reputation of the Cambridge campus is spread out the world, but what we will actually learn during the one month of summer is the supreme to me. The amazing opportunity offered by your summer school will allow me to explore the structures of international commerce, the development of economic, engagement of global marketplace, the omnipresence of either marketing or branding, and the power of selling strategies. Furthermore, the method of how your school educates students and assessing student’s learning ability fascinated me. I have always wanted to achieve business conceptions by analyzing real-life case studies or playing business related games. As well, I am more willing to be assessed by integrating me to the real business case, and evaluate how I can apply the knowledge I have learned while encountering the situation.Show MoreRelatedWhat Does It Mean For A New Business Environment?1112 Words   |  5 PagesEvolution is upon us in the business industry. 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Impacts of Cell Phone Lifecycle Free-Samples Myassignmenthelp

Question: Describe the Impacts of the Cell Phone life Cycle on Environment, Economy, Society and Governance in the 'Use' Stage. Answer: Using Stage The using stages part of the mobile phone life cycle contributes to environmental imbalances. Firstly, use of handset leads to noise pollution. This is mostly helped by the fact that these handsets are cheap and almost everyone can have access to them. In big towns and cities, there is the high rate of phone usage due to the availability of many businesses (Bull Kozak, 2014). This creates noise pollution which distracts the environment. The continued use of scratch cards has polluted the environment. The economy probably witnesses a noticeable improvement. This is highly associated with the influence created by the phone owners to the ones who do not have. This implies that while using stage, there is high demand for different types of cell phones. The economy is thus improved by supplying a large number of phones to the market to meet the rising demand. Moreover, during this stage, businesses are expanded due to the increased utilization of e-commerce and other online business plat forms. The sale of simcards and scratch cards also boosts the economy. The society benefits mainly from the usage of cell phones which utilize nondurable batteries. Furthermore, the economy has to take care of the phone charging costs due Security is enhanced because should there be robbery and other types of violence, cell phones are used to alert the security officers. Conversely, usage of mobile phones is known to have brought unrest in the society because the same mobile phones are privately used to by some individuals to bring in criminals (Malmodin, Lundn, Moberg, Andersson Nilsson, 2014). Governance is highly ensured during usage to restrict users from accessing some wasteful sites. For instance, in North Korea usage of cell phones is governed by high rules that prohibit the users to access the pornographic sites. References Bull, J. G., Kozak, R. A. (2014). Comparative life cycle assessments: The case of paper and digital media.Environmental Impact Assessment Review,45, 10-18. Malmodin, J., Lundn, D., Moberg, ., Andersson, G., Nilsson, M. (2014). Life cycle assessment of ICT.Journal of Industrial Ecology,18(6), 829-845.