Discussing incentives to conserve marine biodiversity conservation Assignment

Discussing incentives to conserve marine biodiversity conservation within the framework of impure public goods - Assignment Example Constructive externalities are often explained as brim end products to imply that their consequences are felt by consumers who were not in way wished for by their manufacturers. Negative externalities impose costs on the public that extends beyond the expenditure of manufacturing as initially planned by the manufacturer. Also, a manufacturer of a negative externality, who does not have to worry about its full expenditure is likely to bring into being too much damaging quantity of the item for consumption (Arriagada & Perrings 798). The way the supply of public goods is created by the individual efforts of various community members is known as aggregation technologies. It classifies scheme of public goods and gives an important point of view on contributors’ encouragement and so helps to put in plain words how individual contributions establish the overall supply of a public good. In aggregation technology of public good supply, the following categories are commonly put into consideration: undemanding summing up product, whereby the most common option, the donation of each agent settled on by simple accumulation of the aggregate levels of stipulation of the public good. For instance, the level of damage to the atmosphere caused by a contaminating gas. Such inert gases are calculated by adding each nation’s personal release. As the level of public good is indifferent to any change in income distribution among donators, when charitable involvement are constructive, the impartiality theorem applies à ¢â‚¬â€œ the amount delivered by one representative is an ideal replacement for the quantity provided by another person. In aggregation supply, we have weakest link, summation, subjective sum, and best shot. Is most cases, each component gives to the public good identically and cumulatively to the level of the good available to all for expenditure. As individual

A literature review 'what are the concepts behind sustainable housing Essay

A literature review 'what are the concepts behind sustainable housing development' - Essay Example The term ‘sustainable development’ is perhaps one of the most important terms in the context of global society. World Commission on Environment and Development defined ‘sustainable development’ as â€Å"development that meets the needs of the present without compromising the ability of future generations to meet their own needs† (Munier, 2005). Often people think that ‘sustainable development’ is synonymous with ‘economic development’. However the concept of sustainable development is applied to every area. Fundamentally there are three major areas that are addressed by sustainable development. These are In the present era when activities are more involved in destructions rather than constructions, it is very important to have sustainable development in both economic and social sectors. Housing development is basically a part of both social as well as economic development of the region. As a result sustainable housing development has to be considered crucial if the objectives regarding sustainable economic and social development are needed to be achieved. Housing can be seen as a basic human need and it is one of the major issues in the everyday life of people. In 1948, United Nations stated that â€Å"everyone has the right to a standard of living adequate for the health and well-being of himself and of his family including food, clothing, housing and medical care and necessary social services†¦Ã¢â‚¬  (Bakar, A. H. et al, n.d.). Housing initiatives have to be socially acceptable, economically viable, environmentally compatible and technically feasible in order to achieve sustainability. Sustainable housing has been defined in several different ways by different experts and organizations. The European Union provided a definition from three different perspectives – economy and society (e.g. psychological impacts and affordability), construction (e.g. construction quality) and

Analysis of Jean-Luc Godard

Analysis of Jean-Luc Godard ‘The auteur theory can be summarised most simply as an acknowledgement of the director as the primary and shaping force behind a film’ (Craig Keller). How is Godard’s ‘primary and shaping influence’ detectable, if indeed, it is? Introduction The auteur theory was a principle developed in the 1950s by a group of French film critics namely: Eric Rohmer, Francois Truffaut and Jean-Luc Godard. It was their belief that an auteur was â€Å"the single individual most responsible for whatever personal expression (if any) a movie yielded up under critical analysis†. This definition has become the most universally understood of the auteur theory and therefore the one which will be referred to during this dissertation. These critics wanted to see an end to la tradition de la qualità © of conventional cinema of the 1930s and 1940s a period coined le cinà ©ma de papa. They viewed films produced at that time to be â€Å"literary†, â€Å"lifeless† and not â€Å"truly cinematic†. Inspired by fellow film critic Alexandre Astruc’s camera-stylo theory arguing that â€Å"filmmakers should use their equipment as spontaneously, flexibly and personally as a writer uses a pen† these young critics began to break the constraints of conventional cinema. Prior to the development of the auteur theory, a large majority of films were produced, shot and edited in similar styles. Large studios, with fixed cameras and scriptwriters having overall control were common, thus creating a rigid style of film production. However, in the 1950s and 60s, a period labelled the Nouvelle Vague, French cinema was completely revolutionised. During this time films moved away from the confines of the big studios and artificial lighting; to outside, using light weight Arriflex cameras which sped up the film process. During this period directors began to experiment with several new cinematic techniques whilst implementing their own personal artistic values in films. These directors came to be known as auteurs becoming the ‘primary and shaping force’ behind their films, manipulating scenes to fit their style rather than employing the traditional method of following scriptwriter’s prompts. In terms of the auteur theory Jean-Luc Godard was seen as the truly radical auteur. By most he is today seen as one of the most innovative and artistic directors having created his own ‘Godard style’. As Godard himself suggests, â€Å"les vrais auteurs des films sont les producteurs†¦le cinema n’a d’avenir que si la camera finit par remplacer le stylo†. Godard epitomises a director out to challenge traditional cinema. Through such films as Vivre sa Vie: Film en douze tableaux (1962) and Une femme est une femme he began to interrogate and illuminate conventional cinema via new cinematic and artistic techniques. This dissertation will assess the extent to which Jean-Luc Godard’s ‘primary and shaping influence’ is detectable in his films. In the main body of this dissertation I will consider Godard’s ability to implement his own cinematic style through several inventive techniques. I will consider his ability to challenge the barriers between off screen and on screen reality. Furthermore, I will analyse his use of camera shots, editing techniques, colour and sound so as to demonstrate his pivotal influence on the shaping of his films. I will however, also argue that any kind of definition of the auteur theory oversimplifies the realities of a film making process and can therefore not be seen as a definitive theory. Andrew Sarris explains, one of the premises for an auteur is that the director must ‘exhibit certain recurring characteristics of style which serve as his signature†¦over a group of his films’. I will, therefore, make reference to four of Godard’s films: A bout de Souffle (1960), Une femme est une femme (1961), Vivre sa vie: Film en douze tableaux (1962) and Le Mepris (1963) to demonstrate how Godard yields personal influence in his films. One of Godard’s premises as a film director was his belief that realism was a pivotal part of film making. Godard believed that realism attempted by conventional cinema was â€Å"never exactly the same as reality, and in cinema it is of necessity faked†. It was therefore Godard’s intention to continually experiment with new ideas and make his actors improvise in certain scenes in order to encapsulate what he believed would be the closest thing to real life. Following the release of A Bout de Souffle actor Jean-Pierre Melville who played Parvulesco in the film said Godard’s movie was â€Å"anything shot anyhow†. Godard himself confirmed that â€Å"on A Bout de Souffle I used to write the evening before shooting†. According to Godard, the reason for him doing this was because â€Å"I liked to be surprised. If you know in advance everything you are going to do, it isn’t worth doing. If a show is all written down, what is the point of filming it? What use is cinema if it trails after literature?† Godards obsessive need to shape the smallest minutiae made him standout amongst his peers by firmly embedding him as the autonomous force behind all aspects of the film making process. In addition, if one reads the script of Le Mà ©pris it clearly shows his belief in improvisation to encapsulate real life. In the thirty minute apartment scene in which Camille and Paul argue, the only direction is â€Å"man in hat. Man in towel. Blond woman. Woman in black wig. Sheets on coach. Sheets off couch. Dishes on table. Love. Anger. Contempt. Tenderness.† This therefore forced the actors to improvise in the hope that the scene would be more realistic than just learning their lines by heart. This idea of filmmaking was revolutionary at the time and was a way in which Godard was implementing his own directional style to his movies. As Kreidel suggested in 1980 â€Å"[N]o one has yet made a more modern cinema than Godard†. For those familiar with Godard’s work the quote used above ‘anything shot anyhow’ should strike a chord. His use of the camera to manipulate scenes to exert his own artistic influence over his movies was just one of the ways in which his primary influence was detectable. Godard employed a range of new cinematic techniques in an attempt to escape the classical idea of a passive audience. His work was heavily influenced by Bertolt Brecht’s theory of Brechtian distanciation which encouraged the audience to make their own interpretations of what they were experiencing rather than them being simply led through a piece of theatre. Godard was influenced by Brecht’s theory in encouraging the active engagement of his audience, â€Å"he breaks the illusion of the fourth wall in order to communicate directly with the audience, usually in such an enigmatic way that he seems to be satirising the whole of communication†. In a key scene in A Bout de Souffle Michel, one of the lead protagonists, is filmed having a conversation with himself whilst driving. Traditionally this type of scene would be shot using a fly on the wall technique, Godard instead, by making Michel talk directly at the camera, creates the impression that Michel is directing his words at the audience. Manipulating the camera lens to involve the audience was just one of the techniques that Godard employed. In the opening scene in Vivre sa Vie he utilises a very different technique alienation. Rather than filming this scene in the traditional head-on format Godard places the camera lens behind the lead characters heads. In doing so the audience feels alienated from the conversation between the characters Nana and Raoul especially as their reflection in the mirror distances themselves even more from the audience. In addition, Godard never films the two characters in the same shot which not only highlights the divide between the characters but also the audience from the characters conversation. As Godard himself suggests â€Å"I also converge with the theatre through language: in my film one must listen to people speaking, particularly as their backs are often turned so that one is not distracted by their faces†. By shooting this scene from behind Godard does just that. He forces the audience to interpret the scene through what they hear and not what they see. By exploiting these techniques Godard is undoubtedly heavily exerting his influence on these films as an auteur. Godard’s use of the camera to exert a primary influence on his work often manifests itself in less obvious ways. He frequently extends the length of a single shot or slows down his camera movements to provide the viewer with adequate time to concentrate on a specific image. In Le Mà ©pris Godard is forced to do a slow panning shot in one of the final scenes of the film when Odysseus returns home to Ithica. Godard’s use of colour is so bold in this scene that if he quickly panned across the scene it would not give his viewers adequate time to concentrate on the composition of the colours. The scene is filmed in such a way that it adds to its artistic content. In much the same way as a writer’s style of writing changes or a painters brush strokes alter throughout their career, Godard’s style evolves throughout his films. He employs different techniques in each film but the one constant is his shaping influence on each of his works. In conventional cinema, colour was generally used in order to increase the commerciality of films. When it was occasionally used, it enhanced the mood in separate scenes. Godard employed a far more ambitious use of colour in his work. In his first two colour films Une femme est une femme and Le Mà ©pris he predominantly used primary colours due to his interest in â€Å"modern art: straight color, ‘pop’ art†. Godard used bold primary colours to indicate the characterisation and narrative development in his films but in such a way that it did not act upon the viewer in a directly sensual way. In Godard’s first colour film Une femme est une femme, Angela is intent on having a child with her husband Emile. Emile however, is not so keen on the idea and appears rather blasà © about the subject; he predominantly wears blue in the film which symbolises his rather laid back nature. After being repeatedly refused by Emile on the topic of having a baby, Angela goes to Emile’s friend Albert to have an affair in the hope to conceive. Albert despite being happy to oblige feels no real affection for Angela and this is shown as he mainly wears grey symbolising his disinterest in her. In Godard’s second colour film Le Mà ©pris, he continues the pattern of using colour to represent characters personalities but tends to also use colour to depict how characters emotions towards each other evolve throughout the movie. In the opening scene, Camille is lying in bed with Paul asking him if he loves different parts of her body. In this scene, Godard uses colour filters which are seen as a representative of what is going to happen in the film. If one considers that red symbolises love, white incertitude and blue coldness then it maps out what happens in the film, love to ambivalence to contempt. Furthermore, Godard manipulates colour to mirror personalities. Paul the scriptwriter in the film is seen in a grey suit with blue specks highlighting his passive personality. Jerry the ambitious American film producer is mostly seen in a blue suit, red tie and driving a red sports car which in turn suggests his dominant personality and his lust for Camille. In addition, Camille is shown in several coloured dresses throughout the film so as to emphasize her continual change of emotions. Finally Francesca, Jerry’s secretary wears a red jumper in the scene when she seduces Paul which again emphasizes Godard’s attempt to symbolise emotional currents in the film. It is important to note that several critics have suggested that Godard’s use of primary colours can also be seen as a referent to American musicals, a genre which fascinated Godard. This referent is most evidently seen in the opening credits of Une femme est une femme when bold colourful words flash up on the screen like neon lights, reflecting the lavishness of the American musical. Furthermore, other critics suggest that the primary colours are a referent to either the French flag or American flag. The extensive analysis of these critics suggests that they themselves acknowledge Godard as playing a decisive role in the production of his films. One of Godards most revolutionary impacts on French cinema was his use of editing. Prior to the Nouvelle Vague, directors were focused on attempting to reduce the awareness of the film making process for the audience; enhancing what directors felt was reality.   They would therefore use techniques such as continuity editing which prevented the audience from being aware of any cuts in between scenes, enabling them to be swept up in the film. Godard however, had a strong belief about the basics of cinema in which mise en scà ©ne (the content of individual shots) is continually inflected, articulated and transformed by montage (the editing that drives a film from one shot to another. With this strong belief Godard began to edit using techniques such as the jump-cut. The jump-cut was employed by Godard in his first motion picture A bout de Souffle. Due to a need to reduce the length of the film, Godard systematically cut out whatever could be cut, while trying to maintain some rhythm†. An example of his use of jump-cuts was in the scene when Michel, the criminal, is recognised by a police officer and therefore Michel decides to shoot him. In this scene Godard zooms in on the barrel of the gun which is about to be fired by Michel. Suddenly, when Michel fires the gun there is a jump-cut and the next image is the police officer falling to the ground having been hit. Another notable example of his use of jump cut came later in the film when Patricia is riding in a stolen convertible with Michel. In this scene there are up to seven jump-cuts of Patricias head, creating discontinuity in the scene in a very clear ‘Godard style’. Whilst many critics at the time found his use of jump-cut confusing and disruptive to the flow of the film; many others recognized his â€Å"jagged unruly montage heightened the jagged, unruly mood of a story propelled more by the whims of his characters than the dictates of a predetermined story, which is something evident in his film A bout de Souffle. As has been demonstrated it is clear that Godard exerted considerable influence over the editing process. It is clear that Godard’s films are characterised by a set of stylistic methods. Principally amongst these methods is his use of sound. Prior to the Nouvelle Vague, sound was employed in film to replicate audibly the visual emotion of a scene in order to captivate the audience and make a scene appear more ‘realistic’. Martin Heidegger highlights this tradition by suggesting that viewers have become accustomed to sound’s â€Å"elegant effects† and thus treats them as real. Godard however, firmly believed that in ‘faking’ sound to captivate the audience, one is taking away the realism that he wanted to convey in his films. A point agreed by Richard Roud who suggested that â€Å"even in the most so-called realist film, sound has always been an exception†. It was therefore Godard’s intention to restore sound so that it would captivate ‘real life’ by refusing to edit or remix any previously recorded track, which he defined as sonic realism. One of Godard’s most notable examples of this was seen in A Bout de Souffle. Due to the sound being naturally recorded there are several scenes in the film when some of the character’s conversations are muffled by natural noises. The use of natural sound reaches a peak during the scene in Patricia’s apartment when the noise of the sirens bellowing in through the open window actually drowns out the character’s dialogue. Rather than being a distraction that takes the viewer out of the moment, the use of natural sound here, and throughout the film, only heighten the realism. After all, in life, it would be unrealistic to sit in a room with an open window in the centre of Paris and not hear any intrusive sounds. Jean Collet praises Godard’s creation of realism through sound stating â€Å"[Godard applies] to sound the same demands as for the pictures. [He captures] life in what it offers to be seen-and to be heard-directly.† Godard’s artistic use of sound did change in his career with the development of post-synchronised sound. Prior to the Nouvelle Vague, direct sound was used in films such as A Bout de Souffle. However, with the development of post-synchronised sound Godard was able to talk to the actors whilst filming so as to direct them and after synchronise the sound with the film footage. This also enabled him to implement his artistic Brechtian style of filmmaking in which he alienated his audience. In the opening scene in Vivre sa Vie, Godard uses the soundtrack in ten to twenty second bursts. The scene shows shots of Anna Karina’s face at different angles. In conventional cinema, music would generally play consistently throughout this scene to highlight the emotional state. Godard however, plays it in bursts creating discontinuity in the scene as the soundtrack stops at random intervals. As has been demonstrated, Goddard employs a wealth of techniques in his films to manipulate sound. In playing such a pivotal role, he firmly entrenches himself as the key player in his work. Rarely before had cinema seen someone wield such a crucial influence over all aspects of the film making process. Second Section It is undeniable that Godard has produced some of the most inspiring and innovative films through his use of story line and cinematic techniques. His exploitation of light, colour, and sound, editing and alienating the audience showed Godard had revolutionised traditional French cinema and in doing so has inspired modern day film directors such as Quentin Tarrantino. However, in using Keller’s summary that an auteur is simply the primary and shaping force of his films it is unquestionably oversimplifying the realities of the film making process. As Godard changed so much in his films compared to traditional cinema it is not possible for him to be praised for every aspect of his films creation. Godard said in an interview in 1983: â€Å"I find it useless to keep offering the public the ‘auteur’. In Venice, when I got the prize of the Golden Lion I said that I deserve only probably the mane of this lion, and maybe the tail. Everything in the middle should go to all the others who work on the picture: the paws to the director of photography, theface to the editor, the body to the actors. I don’t believe in the solitude of†¦the auteur with a capital A†. Furthermore, Godard admitted that him and the likes of Truffaut, Rohmer and Rivette whilst taking the plaudits for the auteur theory, exaggerated the significance of the theory so as to establish personal expression as one of the primary values in Nouvelle Vague films. Several theorists have also raised doubts as to the significance of the auteur. Foulcault and Roland Barthes suggest that all creative ideas are moulded by the social and political forces that surround us. They go on to state that ideas are contrived from the knowledge that one has gained from past experiences. If one puts this in the context of Godard’s films it would suggest that Godard’s cinematic ideas and techniques were influenced by what he has learnt from past experiences. An example of this can be seen in his indirect use of Brechtian distanciation. Whilst it is evident that he was inspired by Brecht’s idea of alienating the audience to prevent them from being passive observers can one really claim that Godards cinematic techniques were not the result of Brecht’s indirect influence? Furthermore, when analysing many of Godard’s films, Godard refers to several quotes from the likes of William Faulkner and Edgar Poe. These are quotes which could have been easily edited but instead Godard â€Å"taste for quotation† suggests that he is not the primary and shaping force in his films. Language One of Godard’s obsessions as a director was his use of language and his belief that words could represent anything. Whether his characters are just mouthing words or when they say one thing and then immediately contradict it, it exhibits his desire to become a writer through his films. In doing this he is challenging the use of words and at the same time expressing his desire to be an author, similar to that of being a novelist or playwright. He wants to aspire to the status of being a writer as though cinema is some sort of parvenu that can find legitimacy by talking about poetry of cinema and therefore elevating it to that status. Godard therefore investigated how meaningful words can express the way you feel, through his use of subtitles, language through signs and translation. Vivre sa Vie is a good example of this as the characters speak different languages and therefore need an intermediary, Francesca to put their views across. Furthermore, in one of the final scenes of Le Mepris Camille and Jerry, despite not speaking the same language use signs to express their thoughts. Camille states that she likes to type by gesturing her fingers typing on an imaginary typewriter and Jerry who gestures his reaction to this with his hands stating that she is crazy. One could also suggest that Godard is expressing his own views through the use of language. In certain scenes of Vivre sa Vie it almost appears as if Godard is either articulating his opinions through voiceovers or, uses the characters as mouth pieces of his thoughts. When Nana speaks to the philosopher she says â€Å"that we are all responsible for our actions, we are free, I am responsible (which she repeats five times)†¦you only have to take an interest in things, things are what they are, life is life.† Furthermore, in the scene when Raoul reads an extract of Edward Poe’s book†¦which is in fact Godard doing a voiceover. This Godard style is also a very good alienating technique, as whether he is speaking implicitly or explicitly he is constantly reminding the viewer that he is making a film of which he is the director. So you are therefore never able to simply surrender to the naturalistic credibility of the language in films which was the case in conventional cinema. Rather he is deliberately making the viewer aware of the film making process.

A Comparison of Repression in The Crucible and Black Ice Essay

The Crucible and Black Ice – Repression Within the small and somber courtroom, wandering eyes search for their victims; fingers of vengeance fly at the innocent with sufficient speed to free themselves of the accusations. Hear the anguishing voices of the dead, feel the fury of the falsely accused, see the pain of the convicted, smell the scent of a paradox authority, and taste the bitterness of societal repression. John Proctor devotes himself to saving his wife and bringing justice to the backward court that rises in his society. The authority makes efforts to repress his outspokenness with questions meant to steer him towards admitting to immoral deeds. Pressure builds on him as he becomes accused and forces him to live a life-threatening test. Similarly, Libby is given the challenge to succeed in the white dominating society while not betraying her own culture. Feeling repressed by teachers and students because of her color, she is torn between the decision to adopt the white world and fit in, or struggle to maintain her identity but at the same time, succeeding. In The Crucible by Arthur Miller and Black Ice by Lorene Cary, societal repression unfolds to be a troubling situation for them, however with their promising traits, they carry on towards their goal without hesitation. To start off, a comparison between the two protagonists would be their determination and ambition. After Proctor's wife is arrested, he confidently states that "my wife will never die for me! I will bring your guts into your mouth but that goodness will not die for me" (Miller 76). To reach his goal, Proctor vows to surpass any o... ...to die rather than succumb to the falseness of the authority. John Proctor is dead, but he is buried with the honor regained from trading in his life. With determination, strong-values and independence, Proctor makes his voice heard and does not succumb to the unjust authority, and because of that, he grasps in his hand the triumph of overcoming societal repression. As for Libby, she finally understands she does not have to be repressed to succeed in the white world, but instead, she can balance both her identities. She will take advantage of the privilege she is offered in the white world while she can easily slip back into her back skin at other times. So Libby overcomes societal repression as well with ambition, strong-values and fickleness, allowing her to at last skate on the black ice she has heard so much about.

A Very Indian Poem in English Essay

Nissim Ezekiel is one of those Indian poets writing in English who creates an authentic flavor of India, by his use of Indian English – Pidgin English on Bazar English, as it is often called. In this poem, the Indian flavor has been created by stressing the various mistakes which Indians commit in their use of English, by bringing in the hopes and aspirations of free India, and also the attitudes of her two hostile neighbors, China and Pakistan. Poetic Inspiration for the Poem: It all started as a comment by a friend who said that you write in English no doubt and you write English well but you don’t seem to even know or realise that thousands of Indians speak what can only be called Indian English, So from that time in all his train journeys from Mithibai College back home, he started to take some interest in the way English was being spoken on the train. Every time he heard an obvious Indian English phrase like, â€Å"I’m not knowing only.† he would take it down. When he had about a thousand of these, he thought of creating this present poem. The Indian Living Conditions: Ezekiel presents that the new generation is going after ‘fashion and foreign things.’ He presents the typical Indian make – up. The Indian living conditions are sought to be portrayed. The India of yester years is no longer to be seen here, as modernization and industrialization have speeded up the process of change. The regrettable thing in the modern world is the act of violence and anti – social tendencies proving to be a menace. Still the positive aspects like regeneration, remuneration and contraception could be thought of as a way out of the present muddle. One can certainly hope for the better and propagate the best that is thought as unique. Ancient Indian Wisdom: In the second stanza, the readers get a peep into things – Indians as Gandhi’s heir, he would opt for peace and non – violence. He is puzzled why others are not following Gandhi’s advice – while in this estimate, the ancient Indian wisdom is correct, contrastively the modern generation takes it to whatever is western and fashionable – like other Indians, he too has to improve his English language. The student interest and petty agitations make him feel sickening line Antony’s appeal to the Roman mob, he will call upon the fellow citizens to think of the past masters. Thus in the third stanza, he pronounces, In order to get away from that which is disgusting, he wants to have a cup of wine which is very good for digestion. It can be taken as equivalent to the western wine if only a little salt is added to make it a lovely drink. The poet confesses that he is the total abstainer from drinks while it is taken by addicts to gunch themselves, he for his part would turn to simple drinks like lassi. Thus, the poet tries to receive the old Gandhian days. The World Situation Today: In the fourth stanza, the poet is able to think aloud and offer his comments on the world situation today. The present conditions all over the world speak of a bad trend that give an edge to the production of dangerous weapons and try to be superior to others. The countries of the world often tie with each other in keeping themselves ahead of others in this mad competitive world. This retrace often leads to conflicts resulting in loss of precious human lives. If only one considers the other as the brother; the trend could be changed. Unity in Diversity: India is a land where the principle of ‘unity in Diversity’ is practiced. Here many communities live together even though there are some problems. This ideal situation in which one Co-exists with the other is described as Ram Rajya by the poet. He gives the hand of friendliness to the visitor and expects him to come again. The poet is optimistic when he says that he enjoys every moment of good company. So, he ends the poem by saying that he does not feel the necessity of celebrating ceremonies. Common Mistakes ‘highlighted’ in the Poem: Substrate influence on grammar is quite common. It is often frowned upon as â€Å"wrong†, but eventually becomes a regular part of the new language variant. â€Å"The Patriot† contains a number of Indian English examples: the reduplication of verbs in â€Å"fighting fighting†, the lack of indefinite and definite articles in â€Å"threw stone at Indirabehn† and â€Å"all people of world†, the use of one instead of the indefinite article a in â€Å"one glass lassi†, the excessive use of the definite article the in â€Å"not that I am ever tasting the wine†, the excessive use of the continuous tense (the -ing form) in â€Å"I am standing for peace and non-violence†, the omission of an obligatory object pronoun in â€Å"modern generation is neglecting† (instead of â€Å"neglecting this†) etc. Again, this is a satirical poem rather than a genuine example of Indian English, but the phenomena exemplified are genuine enoug h. Conclusion: Nissim Ezekiel occupies a unique position among Indo-Anglian poets of post-Independence era. Nissim opposed the idealism and romanticism of the earlier group of Indian writers in English, and tried to look at any typical Indian situation with an Indian attitude, with a novel and dynamic Indian insight. He cleverly manipulated Indian English to bring out the Indian worldview. Thus Ezekiel uses ‘Indian English,’ or ‘Babu Angrezi’ in his poetry to depict the characteristics of Indian attitude. He used irony as a weapon to depict the characteristic features of Indian attitude.

The Nepal Border Lives A Distraught, Middle Aged Woman...

Along the India-Nepal border lives a distraught, middle-aged woman named Meena Khatun. Unlike women in wealthier, more amiable communities who deal with the stresses of getting their kids to and from soccer practice, Meena had to put up with being both abused and bread like an animal by brothel owners. Her job required her to meet the needs of some 10 to 25 customers nightly. If she struggled, Meena was beaten senseless. If she complained, she was drugged to the point of unconsciousness and then given to the customer. If she expressed her agony in any way, Meena was punished severely. To establish greater control, the brothel owners impregnated Meena twice. After giving birth to a girl, Naina, and a boy, Vivek, Meena had them ruthlessly†¦show more content†¦Many women go so far as to make it a career, but most are fooled into the unjust system of prostitution unknowingly and unwillingly. Continuous financial backing creates a certain, fatal predicament when paired with these girls: When, if ever, will this vicious cycle conclude? The recent, global trend of sheer ignorance and sexual availability provides us with a reason to believe that it will not. Though grotesque and inhumane Meena’s story may be, happenings such as these are common in many regions of the world. Women and children are constantly thrashed and bloodied on a daily basis. They are puppets, defenseless against the wrath and merciless anger of the brothel owners who maneuver their taut strings. The penalty for disobedience: death or beatings. The reward for deference: living to see another day. It’s a form of enslavement that devastates the once pure innocence of women and children who are unfortunate enough to be tightly secured to its reigns. While people are generally aware of the happenings in human trafficking, much of the general public doesn’t fully grasp the problems deriving from them. When asking a CU student about what she knew about Human Trafficking, all she could reply is â€Å"I know that it’s a problem in this world and that a lot of women suffer from it†. (Gopsill) Fortunately for these individuals ignorance is bliss, for the predicaments are seldom favorable. Those who are

Bolsonaro and Trump Far-Right Populist Demagogues - Free Essay Example

Sample details Pages: 8 Words: 2262 Downloads: 3 Date added: 2019/03/27 Category Politics Essay Level High school Tags: Donald Trump Essay Did you like this example? In todays world, Trumps face is plastered all over global news for his questionable views and inflammatory remarks. From his past statements, whether they were sexist or racist, to his far-right views, many have considered Trump to be a very controversial and polarizing leader, which can be very problematic. Trumps approval ratings, in general, have been decently low with his lowest approval rate around 35% and his highest approval rate around 45%, while his disapproval ratings peaked around a 60% recently (Gallup). Don’t waste time! Our writers will create an original "Bolsonaro and Trump Far-Right Populist Demagogues" essay for you Create order On the other hand, the new Brazilian president-elect, Bolsonaro, has had around a 45% disapproval rate, while he has also said a decent amount of controversial statements as well (Far-Right Candidate Jair Bolsonaro). Even though Bolsonaro can have many similarities drawn to Trump especially with his far-right views and controversial statements some of Bolosaros views seem to extend further right and evoke far more polarizing opinions, with journalists like Glenn Greenwald and Andrew Fishman calling Bolsonaro the most hated elected official in the democratic world. Bolsonaro and Trump seem to share such problematic opinions, which doesnt only cause unsure feelings on what the new Brazilian president-elect will mean for Brazils future, but also uncertainty for the general near-future of world politics. However, Bolsonaro and Trump still seem to vary on the extent and degree of those opinions. Although it may seem hard to believe that either Bolsonaro or Trump won their presidential elections especially with some of their offensive comments and problematic behavior, it is still important to consider the fact that both Bolsonaro and Trump excelled at appealing to people through their anti-corruption based presidential campaigns and attracting media attention through means of both social media and the news. Sexism and Misogyny Many of the controversial and offensive statements made by both Bolsonaro and Trump originated years before either of them announced their run for presidency. Both leaders have been criticized for many of their misogynistic and sexist comments, which tended to be especially sexually charged and degrading. Bolsonaro stated in 2014 that one of Brazils congresswomen, Maria do Rosrio, was not worth raping and that she is very ugly. He even went as far as to say, Im not a rapist, but if I were, I wouldnt rape her because she doesnt deserve it (Anderson). Although Bolsonaro ended up being fined around $2,500 worth of money in US dollars, that punishment arguably did not seem too bad compared to the vile comments he made about the congresswoman. Not only was Bolsonaro unprofessional in bringing up Rosrios physical appearance and insulting it, but he was also very wrong to reduce her worth only to her appearance and in casually making those remarks around as serious as a topic as rape. Trump , in his many years of insensitive comments towards women and notoriously known for the p***y grabbing video, has also belittled women based on their looks, attacking various women including those who are as famous as German gold medalist Katarina Witt, Angelina Jolie, Cher, Heidi Klum, and Miss Universe 1996 Alicia Machado (Cohen). While both Bolsonaro and Trump have made comments that tried to reduce women to their physical appearances, they have also shown they do not think of women as equal to men in different ways; Trump has degraded the value of women to how they please their husbands and blamed women for the problems in their relationships, while Bolsonaro has attributed weakness to women. Trump tweeted in August 28, 2012 how he fully understands why her former husband left her for a man, and in April 16, 2015 how she probably cant satisfy America based on how she wasnt able to satisfy her husband. Of course, aside from Trumps commentating on Hillarys marriage, he was also known to often interrupt her in presidential debates, but Hillarys case wasnt the only time Trump hadnt behaved professionally towards women during his political career. Trump had also insulted his Republican rival, Carly Fiorina, in September 9, 2015 by asking if anyone can imagine her as the face of the next US president. Even more re cently, Trump has commented on the good shape of Brigitte Trogneux, the French First Lady (Cohen). Consistently, throughout time, Trump has shown to reduce women only to their looks, which apparently seems to be the most important thing about women to him. In April 2017, a part of Bolsonaros speech caught some negative attention, when he stated that his fifth child and only daughter was produced in a moment of weakness, which was shocking to hear since it is about his very own daughter but which also reflected his misogynistic views by indirectly yet clearly equating women to weakness (Anderson). In addition to Bolsonaros commentary on reducing women to physical appearances and attributing weakness to women, which are very fundamental issues on the value of individual women, Bolsonaro also brought up more external issues, such as equal pay when he argued in a 2015 interview with Zero Hora that men and women should not receive the same pay, because women get pregnant. This is not to say that the issue of equal pay does not matter and is just disposable, but it is only to say that the reduction of a womans value to beauty and that the attribution of weakness are core problems relating to human value (in this case, a womans value). While unequal pay is unjust, it also isnt right to argue that the pay that men and women receive is according to their value, because then that argument at the very core would be equating all humans to money in a way, instead of looking at them holistically. Alongside the opposition of equal pay for women, Bolsonaro also opposed paid maternity leave (with the claim that it harms productivity) and abortion (Anderson). Trump has also been similar to Bolsonaro in his stance to abortion in that they are both firmly pro-life. Although he had previously been pro-choice years before, he recently changed his view to extremely pro-life during and after the presidential election, when he said that women who have abortions should be punished, only unless they were in instances of rape, incest, or when the life of the mother was at stake (Cohen). However, Trump then changed his position only a couple of hours later to that doctors allow these abortions to happen are the ones to be punished, which wasnt a view that was all that much better. Both Trump and Bolsonaro do not seem to realize that not allowing abortion is intruding the rights and freedom of the women who might want to have those abortions for whichever reason, no matter how personal. Abortions shouldnt be up to anyone else, but the women since it is their body and since raising children is a big deal. Its not a business that anyone should be so intrusive about. And no one should be forced to raise children, if they are not ready, since children are a huge responsibility and a great investment of time and money. Being forced to raise children doesnt do any good for either the child or the mother and can be problematic in the end. Although both Trump and Bolsonaro are shown to degrade women to only their physical appearances and to restrict womens rights to abortion, Trumps sexism and misogyny seems to focus mostly on looks, while Bolsonaros seems to branch out much more and seems even more serious than Trumps as Bolsonaro attributes weakness to women and seem s to freely and very much casually talk about rape as though it werent so heavy of a topic as it actually is. Racism, Immigration Reduction, and Foreign Relations Not only have both President-Elect Bolsonaro and President Trump discriminated against the opposite sex, but they have also gone on record to make racist comments in addition to the aforementioned sexist ones. Both Bolsonaro and Trump have explicitly outright offended certain countries, with Bolsonaro calling African, Haitian, and Middle Eastern immigrants the scum of humanity and Trump referring to some African countries, El Salvador, Haiti, and Honduras as sh*thole countries (Anderson). In addition, Bolsonaro has also insulted indigenous and Quilombolas communities (who are descendants of Afro-Brazilian slaves) when he indirectly suggested that they were lazy (Kirby). His easy succumbing to making such rude generalizations and stereotypes shows his racist tendencies. There can be a parallel drawn to Bolsonaros stereotype-making with Trump as well, when Trump generalized many Mexicans during a speech as drug dealers, criminals, and rapists and talked about building a wall. Both Bols onaro and Trump want to reduce immigration, while expressing their reasoning for it in a very racist and controversial way which causes some of their foreign relations to suffer. Besides the usage of racism to try to justify views, Bolsonaro has also hurt some diplomatic relations through certain suggestions, actions, and comments. One was his considering making Jerusalem the new location for Brazils embassy rather than Tel Aviv, something similar to what Trump has done. However, the consequences of doing so would complicate and potentially cut ties with Cuba. In addition to this suggestion, Bolsonaro had already commented that the Cuban government treated their medical professionals like slaves, which led to their withdrawal of over 8,000 doctors who had been helping in impoverished areas of Brazil. In doing so, Bolsonaro seems to keeping pouring oil over the fire; but this was to be somewhat expected, as many of his statements are incendiary. Brazils relations with Cuba wasnt the only relation that Bolsonaro had tinkered with. While he was still a presidential candidate, Bolsonaro provoked what would arguably be Brazils most important trading partner, China , by visiting Taiwan, an island China considers as part of its territory (U.S. and Brazil Chose Similar Leaders) which was a very risky and bold move on his part. Another issue that also worries many is affirmative action, which helped those who usually suffer from discrimination in the workplace or higher education, since both Bolsonaro and Trump are against it. By being against affirmative action, they would be wanting to take away something that evened out the field for minorities and actually gave them opportunities. Without affirmative action, minorities can expect to have even more disadvantages, as if it wasnt already difficult to be part of the minority. It almost seems ridiculous that neither Bolsonaro nor Trump seem to think twice about saying such harmful statements about whole groups of people on television or the news so boldly. Bolsonaro and Trumps racist tendencies seem go hand in hand with their wanting to reduce immigration and supposedly maintaining their country, which echoes in Bolsonaros and Trumps overtly nationalistic messages of Lets make Brazil great! Lets be proud of our homeland once again! and Make America Great Again (Kirby). Complications with LGBTQ Community While both Bolsonaro and Trump have had much tension and opposition with the LGBTQ community, Bolsonaro has definitely shown more direct opposition towards homosexuality and the LGBTQ community in general throughout his political career, which is shown especially through his instances of direct hate-speech or ignorant comments. Bolsonaros hate-filled comments on the LGBTQ community date back as far as the early 2000s, when in a 2002 interview he told the newspapers, If I see two men kissing on the street, I will beat them (Sandy). He also went on to condone child abuse by adding that parents should whip their gay children (Reed). As if these comments werent already horrific enough, Bolsonaro has also said that if his own sons were to be gay that he would prefer if they were to die in an accident, claiming that he simply wouldnt be able to love them (Kirby). It was shocking to see how intolerable he was of homosexuality, which was shown through those violent comments and unforgivingne ss to his sons if they were to be gay. Not only that, but Bolsonaro was also very dismissive of sexuality when actress Ellen Page asked him in 2017 if she should have been beaten as a child because she is gay (Reed). To that, all Bolsonaro replied that she is pretty and that he wouldve catcalled her. Although Bolsonaro has recently seemed to increasingly become more moderate in what he says about the LGBTQ community compared to the violent hate-speech he used to spew out in the early 2000s, his view on the LGBTQ community is still problematic; its just not as outwardly spoken about as he used to. And it is definitely clear that he does not really understand the concept of different sexualities and how to respect them, as shown by Ellen Pages interview of him when he just completely dismissed her sexuality by saying something he believed was a compliment but what really wasnt. Trump, on the other hand, hadnt been quite as negatively vocal about the LGBTQ community as Bolsonaro has. He had even thanked the LGBTQ community and said that he would fight for them in June 2016 (Diamond, et al.). However, much of his actions were contrary to what he had said. Within a couple of hours after being sworn in, the White House website was deleted of all content on LGBTQ issues. To make that worse, Trump stated appointing an increasing amount of people who were known to be anti-LGBTQ, such as Neil Gorsuch as a Supreme Court Justice, Betsy DeVos as Secretary of Education, Ben Carson as Secretary of Housing and Urban Development, Mike Pompeo as Secretary of State, and many more (HRC). Ben Carson had been known to have stated that being gay is absolutely a choice. While Trump didnt seem to be so anti-LGBTQ with his words, much of his actions say otherwise.