The Tragedy of Julius Caesar by William Shakespeare Essay -- Julius Ca

The Tragedy of Julius Caesar by William Shakespeare In The Tragedy of Julius Caesar, by William Shakespeare, the story revolves around the various individuals who would vie for control of the Roman Empire. All of these individuals exhibit various attributes, values, and techniques in order to facilitate this goal, from Cassius’ intelligence, Brutus’ charm and honor, to Antony’s gift to drive a crowd. And although all three desire to become the new strongman leader of Rome, it is Antony who succeeds gaining the most control through his own specific talents, most specifically noted at Caesar’s funeral. At the funeral scene, Antony exhibits several qualities beneficial to a Roman leader, such as oratory and appeasement skills. The dialogue depicted in Act III, scene ii provides a valuable and insightful perspective on how these values were desirable for leadership in the late Roman Republic. One of these important virtues necessary for rule is the ability to move a large crowd with impressive orating skills. This ability is seen particularly by Brutus in his first speech, as he manages to move the Roman crowd from fear at the assassination to disdain of the now late Julius Caesar. As Brutus spoke to the masses, he made sure to cleverly weigh his loyalty to Caesar to his loyalty to Rome, as he claims, â€Å"not that I loved Caesar less, but that I loved Rome more† (III, ii, 23-24). He even more cleverly sets the crowd with himself and against Caesar as he dares those loyal to Rome to challenge his judgement: â€Å"Who is here so vile that will not love his country? If any, speak, for him have I offended. I pause for a reply† (III, ii, 33-36). Thus, while playing on the crowd’s loyalties and using his love for Rome and... ...and whipping them into a fury. This ability to appease, employed by Octavius later in history to much success, also characterizes the typical Roman strongman as the primary example of an exceptional leader. The capability of moving the public with strong words and to gratify their desires are indeed qualities advantageous to being a leader in ancient Rome. As Antony displays, these abilities can set an individual apart from his counterparts and place the upper hand in favor of the person with most control of the general public. Thus, his control of the crowds lends him the power he needs to turn the tables against Brutus and the conspirators, and he succeeds in gaining control of Roman leadership with his beneficial set of talents, abilities, and virtues. Works Cited Shakespeare, William. Julius Caesar. New York: Folger Shakespeare Library, 1992

Film Sense Shot Essay

The development of formalist film theory was deeply connected with the formation of cinematograph as the autonomous art. The specific character of this theory, hence, should be understood in terms of theoretical and practical elaboration of film production instruments and thorny path of mastering various means for delivering cinematographic ideas and content to spectators. It should be noted that the basic elements of formalist film theory, such as montage, lighting, scoring, shooting etc. became generally accepted technical means in cinematograph, which were used irrespectively of theoretical approaches preached by a given director. However, it should be noted, that notwithstanding universal spread of major theoretical and technical findings of formalist theory, it has its own unique historical features, represented by the work of such notable contributors as S. Eisenstein and R. Arnheim. Generally speaking, formalist film theory may be described as the totality of views, which claim the centrality of technical and formal means of film production to maintaining its inherently artistic and cultural nature. Eisenstein, the pioneer of formalist theory, in his major works Film Form and Film Sense Shot claimed that montage is the central practice to film-making, because it covers its both technical and artistic aspects (Beyond the Shot, p. 13). The utilization of technical approaches to montage and shooting is essentially linked with general objectives of film production, as it is understood in formalist film theory, that is, creating meanings and artistic ideas through copulation/combination of images, shots and sound elements. Basic features and premises of the formalist film theory Formalist film theory is premised on the dialectical understanding of relations between form and content in film production. Technical means, including montage, shooting, lighting, sound are not neutral vis-a-vis artistic content of a given film. In contrast, their collision or sequence, help realize artistic ideas. Based on this theoretical underpinnings Eisenstein developed several approaches to montage, which should be utilized depending on specific goals director pursues. Eisenstein defines five basic approaches to montage such as metric, rhythmic, tonal, overtonal and intellectual (Eisenstein 1949 72-79). All these approaches are premised on the complexity of artistic ideas, which director delivers to spectators. The dialectical relations between shots in these types of montage are based on conflicts between volume, rhythm, scale, speed etc. Metric montage may be described as the control of time sequence of different episodes and images, irrespectively of their intellectual content. These include various formal transitions and interruptions in the visual sequence of shots. Rhythmic montage includes metric elements, but pays specific attention to the visual composition and content of shots, which is made to deliver complex meaning. One of the notable examples of this type of montage, developed by Eisenstein and practiced by his colleagues such L. Kuleshov and D. Vertov, is a famous scene from Eisenstein’s masterpiece Battleship Potemkin, often referred to as ‘Odessa Steps’. This scene portrays the massacre of protesters (including women and children) in Odessa by Imperial Cossack Forces. Metric and rhythmic approaches to montage are extensively used to portray the ugliness and brutality of Tsarist regime and its servants and the sufferings of ordinary people. To achieve this effect, Eisenstein ‘copulates’ shots of soldiers’ boots, marching down the steps with shots of baby carriage with a child in it, moving downstairs. Besides this, Eisenstein uses close images of people, who were killed and massive flight, caused by the gunfire. Temporal metric transitions, hence, are copulated with rhythmic elements, delivering emotional content (Eisenstein 1925). Tonal montage ranks the next stage in complexity of emotional appeal. It uses entire image to create certain emotional effects in spectator. Using specific lighting, sound techniques or special effects, a director creates certain aesthetic atmosphere, which communicates new artistic meanings to visual dimension of the episode. The next type of montage, which Eisenstein calls overtonal, represents combination of tonal, metric and rhythmic elements to produce complex psychological impact on the viewers. The characteristic features of each type of the montage are used in complex to capitalize on the volume, rhythm, scale and speed. And, finally, the most complex type of montage is intellectual montage, which does not only affect feelings, but imbues thinking and reflection. Objectives of formalist film theory Hence, the main objective of formalist film theory, as Eisenstein constantly repeats, is creating artistic effects and meanings, which are communicated to spectators. Eisenstein vividly showed this opportunity, provided by montage, referring to Japanese hieroglyphs, which create new meanings by adding new elements to already existing (Eisenstein, Beyond the Shot 14). Formalist theory’s basic objective may be described as creating conditions for artistic representation of reality in film production. According to Eisenstein and Arnheim, using technical means is not neutral vis-a-vis objective representation of reality. Inability to master technical means results in negative implications for films artistic content and precludes ‘intellectual’ perception of reality. Therefore, formalist film theory, seeks to overcome mere reproduction of reality, peculiar to commercial movie projects. Besides this, representatives of formalist theory hold that spectators should be influenced emotionally and intellectually in order to give them proper understanding of director’s ideas and subjective goals. This goal has its real historical reasons, because the formalist theory developed within a tradition of revolutionary propaganda films, such as Battleship Potemkin and Alexander Nevsky by S. Eisenstein. Arnheim, who is another important representative of the formalist film theory, showed that representation of reality peculiar to cinema, essentially differs from physical contours of reality. Hence, according to Arnheim, formal elements of film-making have great significance for creating emotional and intellectual effects (Arnheim 323). Arnheim gives vivid examples of unique modes of reality perception, generated by films. As he states, film images can not be reduced to physical dimensions. Neither a position of shooting, nor its objects can not be defined mathematically, because they are premised on artistic taste and understanding of reality. Moreover, as Arnheim states, film and visual realities significantly differ in depth, as films are ‘neither absolutely two-dimensional, nor three-dimensional, but something in between†(Arnheim 324) For instance, in Ruttmann’s film Berlin, the director creates interesting juxtaposition of two physical dimensions, depicting trains moving in the opposite directions (Arnheim 324). Tensions and Contradictions within Formalist Film Theory Notwithstanding positive elements, inherent in the formalist film theory, it has certain contradictions and inner tensions, which are often mentioned by the representatives of opposing film theories. For instance, Andre Bazin, one of the most prominent representatives of realist film theory, claimed that formalist understanding of form and technique of film production is manipulative and precludes genuine communication between spectators and artistic subjects (Bazin 48). Besides this, it should be noted that heavy emphasis of formalist film theory on formal and technical means prevents directors from focusing on objective cognition of reality and its representation, making it (reality) a hostage of subjective manipulation with it. However formalist film theory claims that it provides the tools for objective representation of reality, in fact, it is one of the most subjective approaches, even more subjective than auteurship film theory. According to Bazin, formalist film theory breaks world into many small separate pieces, which are then linked to produce structured, but subjective worldview (Bazin 48). Advantages of formalist film theory and its relation to other film theories Formalist film theory has its unique advantages, which are proved by the widespread utilization of its theoretical findings and innovations by film currents, which theoretically contradict its main premises. The importance of montage and other technical procedures was recognized by the majority of directors, who worked after S. Eisenstein. Today, we can not imagine any film, which does not use montage to produce certain artistic affects. Even documentary films, which represent a separate genre, essentially focus on montage. Besides this, deep connections are obvious between formalist film theory and auteur theory, which both put significant emphasis on the role of subjective artistic appeals and aims, which are necessary to maintain cinematograph as a genuine form of art. Both auteur and formalist film theories oppose neutral and quasiobjective film production, which is prone to standardization of techniques and approaches to achieve certain commercial results. In such kind of film production standard genre elements, ideological prejudices and common sense significantly erode the instance of auteurship, transforming films into faceless (without auteur) products of cinema conveyer. It should be noted, however, that formalist film theory is characterized by excessive emphasis on such elements of film production, which often have negative effect on the quality and artistic value. The parasitizing on formal elements and conscious manipulation, as it was noted, is harshly criticized by representatives of realist film theory. It seems that this critique has proper theoretical grounds. Realist film theory, represented by Bazin, calls upon to following the continuity of real images and events and finding artistic meanings in their mere existence. In this view artistic truths should be found in difficult relations between time and space, which entails montage, having subordinate function. Moreover, unlike realist film theory, formalism leaves practically no room for the freedom of interpretation and understanding, aggressively imposing already designed meanings and interpretations on spectators. Such important elements used in realist film theory as deep shot and focus, which help meet its theoretic goals, are ignored in formalist film theory. Failing to master these tools leads to losing visual integrity of reality, which is, according to Bazin, is even more important than montage (Bazin 49). Formalism in Hitchcock’s Spellbound We have already mentioned the use of formalist theory of montage in Eisenstein’s film Battleship Potemkin. However, it should be noted that crucial aspects of formalist film theory may be found in films, directed by people, who are not openly associated with this tradition. This is, for instance, the case with Hitchcock, who based his techniques of film production on Expressionist approach. Hitchcock’s film is based on psychoanalytic and surrealist subjects, which may be proved by its plot and extensive use of Dali’s designs in the Brown’s mysterious dream. One of the major characteristics of Spellbound, which links it with formalist film theory, is that it distorts normal physical perception of time and space in reality. As we remember, Arnheim’s main requirement for film production referred to its creative approach to time and space, designed to break false continuity and present artistic sequence. Hitchcock pays primarily attention to the characterization of different protagonists and objects, but not on their appearances and actions, which is so characteristic of mainstream thrillers. The characters of Constance, false Dr. Edwards, Dr. Murchison are developed in a coherent way, following strict formal structure of plot development. Besides this, Hitchcock utilizes other techniques of formalist film theory, such as fragmentary editing, psychological collision of shots, various lighting effects, and extreme angles. Moreover, Hitchcock uses different approaches to montage, elaborated by Eisenstein. Rhythmic and tonal types of montage are extensively used in scenes, designed to produce strong emotional effects on the spectators. Rhythmic montage is used in the scene depicting Ballantine/Brown/false Edwards phobia of seeing black lines on white things, when these objects are juxtaposed with protagonists’ scared look. Another example includes Constance reading false Edward’s book on the guilt complex and notices that Dr. Edward’s signature differs from that of the man who is the author of the book (real Dr. Edwards). Intellectual type of montage, developed by Eisenstein is evident in surrealist dream scene, when false Dr. Edwards looks at the wall covered with eyes. The same episode includes rhythmic juxtaposition of the close-up shots of Constance and Brown, looking at each other, as well as purely technical tool of shots’ imposition, which creates flexible and vague atmosphere of surrealist dream. Another episode including this type of montage is when Constance, while recollecting Brown’s dream, realizes that the real murderer is Dr. Murchison. In this scene, her recollection of the dream is juxtaposed with her thinking process and eventual discovery. To sum it up, we have analyzed basic characteristics of formalist film theory, its objectives, positive and negative aspects and relation to other film theories. Practical realization of formalist film theory was researched based on the examples of Eisenstein’s Battleship of Potemkin and Hitchcock’s Spellbound. Works Cited Arnheim, Rudolf. Film as Art. University of California Press,1957. Bazin, Andre. What is cinema? Vol. 1 & 2 (Hugh Gray, Trans. , Ed. ). Berkeley, University of California Press, 1967-71. Eisenstein, Sergei, Film Form: Essays in Film Theory, New York, Hartcourt. Trans. Jay Leyda, 1949. Eisenstein, Sergei. dir. Battleship Potemkin, 1925, USSR. Hitchcock, Alfred. dir. Spellbound. 1945, USA, Vanguard Films. Ð °

Silence As A Technique To Show Time English Literature Essay

Literary silence can be used to function several intents. Silence can be used to make a tragic ambiance, to convey out unhappiness, surprise or daze, to stress the lines before and after it and it can besides be used to construct up suspense and emotion. This essay will research the relationship between clip and silence in The Outsider and Waiting for Godot. â€Å" Silence fills this hollow universe, Silence is the pick we make, Silence is the decease of this all, Silence is our destiny. † This infusion from Okami Kamikaze ‘s verse form, ‘Eternal silence ‘ seems to suit Beckett ‘s drama absolutely. The silence is contributed to the drama by the intermissions mentioned in the phase waies. In fact there is no logical idea procedure in the drama as it is interrupted by the intermissions. The intermissions and silences in the drama make a unfertile and tragic ambiance that the characters seem to fear. â€Å" Silence is pouring into the drama like H2O into a sinking ship † , to cite Beckett. The silence, crisp, echoing and resonating seems to make much torment in the supporters. It is this upseting silence that the characters try to avoid through useless babbling, throughout the drama. The silence is a consequence of the decomposition of the establishment of linguistic communication, therefore we see short duologues, nervous laughter and long drawn intermissions. The intermissions and silences besides help in making an air of uncertainness that like the echoing silence envelops the full drama. This is evidenced by the fact that the characters, Vladimir and Estragon are diffident about everything from the day of the month, clip, twenty-four hours, to their intent and the individuality of Godot. â€Å" VLADIMIR: He said Saturday. ( Pause. ) I think. Tarragon: ( really insidious ) . But what Saturday? And is it Saturday? Is it non instead Sunday? ( Pause. ) Or Monday? ( Pause. ) Or Friday? † Time in waiting for Godot behaves in a funny manner, it is cloudy. Time assumes an intangible quality and lacks definition. It seems to stand still as if it were waiting for Godot excessively. This inactive consequence is created through the insistent actions of characters like looking in their chapeau, taking off boots and the similar. The drama with the deficiency of any background music is enshrouded in silence, making a inactive medium for clip. The tree in the background appears wastes in Act I and is covered with leaves the following. The carrot in the first act becomes a radish in the 2nd. A alteration usually taking hebdomads or likely months happens in a individual dark. This is besides the lone manner the readers are made cognizant of the transition of clip. The couple of Lucky and Pozzo besides undergo a enormous alteration all in the span of one dark. Lucky becomes deaf-and-dumb person and Pozzo, blind. The reaching of the courier male child signals the terminal of a twenty-four hours. The reaching of Lucky and Pozzo brings with it one-dimensionality to clip, the minute they leave, clip becomes cloudy once more. The characters Lucky and Pozzo have hence been dubbed the ‘Champions of Time ‘ by some critics. It is as if clip is frozen in silence, merely when the silence interruptions, is clip able to travel, merely to go frozen when the steely silence returns. Gunther Andres compactly summarizes clip statin g, â€Å" Although a ‘stream of clip ‘ does n't be any longer, the ‘time stuff ‘ is non petrified yet ; alternatively of a traveling watercourse, clip here has become something like a dead pulp. † I feel that the characters exemplify the phrase, ‘Killing Time ‘ . The ceaseless waiting, the humdrum repeat and the decomposition of linguistic communication completes this activity. Even Lucky and Pozzo who in the beginning are gifted with consciousness of clip after a few proceedingss in the inactive clip of the supporters, lose clip. In the beginning, we find Pozzo look intoing his ticker, so the ticker stops working and eventually he loses his ticker. â€Å" POZZO: aˆÂ ¦ . Thank you, dear chap. ( He consults his ticker. ) But I must truly be acquiring along, if I am to detect my agenda. VLADIMIR: Time has stopped. POZZO: ( snuggling his ticker to his ear ) . Do n't you believe it, Sir, do n't you believe it. ( He puts his ticker back in his pocket. ) Whatever you like, but non that. † Time is so dead in the frame of the supporters. We see Lucky and Pozzo, whom the supporters look up to as privileged existences due to their consciousness of clip, besides pervert and lose their consciousness, going one with the stagnation that is clip. The Outsider is a fresh dealing with the experiential crisis of disaffection and self-alienation by Gallic writer, Albert Camus. In this book, the usage of silence is elusive unlike Waiting for Godot, with its glaring silences and intermissions. Unlike Waiting for Godot, silence here offers a infinite to believe, to concentrate and wait. The narrative manner itself suits the absence of sound. It should be noted that The Outsider has really few cases of direct duologue. Most of the book is written in indirect address that creates an uneven feeling of withdrawal of Meursalt with the secret plan of the book. As a consequence, the full book seems to be encased in silence. However this remains unnoticed by the readers except when the writer draws attending to the silence. Any little, bantam sound makes us recognize the absence of it. This is particularly seen during the imprisonment of Meursalt. In many parts of the book, Meursalt seems to exhibit a stony silence without responding or answering to inquiries and even take parting in conversations. This is possibly because of a deficiency of things to state. Meursalt is, as Camus describes him, â€Å" in love with a Sun that leaves no shadows. † He does non lie but stands for truth. He does non even utter the harmless white prevarications to delight society and to carry through its meaningless imposts. As a consequence most of Meursalt ‘s silence are â€Å" because he does n't play the game. † to cite Camus. Unlike Waiting for Godot, the characters appear to be really cognizant of clip. Time here is a additive entity with definite boundaries.The book has really specific inside informations about clip, forenoon, eventide, hebdomad etc. and that suggests that Meursalt is really cognizant of what is traveling on around him. In The Outsider there is calculated usage of silence is to in two chief cases to demo motion. One is the period of captivity of Meursalt and the other during the test. We find Meursalt tidal bore to acquire it over with. He does non pay any attending to the test and longs to be back in his cell. At the terminal of Meursalt ‘s life, he seems to detest the silence of the audience that comes to watch his executing. They seem to stand still with bated breath while he wants them to clap and hoot handling him like a hero. Silence Kills ; it intensifies his limited clip before his executing conveying into crisp focal point the brevity of his life. Even during his captivity, we find him sitting in silence watching the skies change from twenty-four hours to dark, his senses more crisp and ague than of all time. â€Å" ne'er earlier had my ears picked up so many noises or detected such bantam sounds. † The silence creates a crisp concentration to Meursalt ‘s senses. He waits for something to go on. He waits for person to come. He seems to cognize his destiny at the custodies of a society that does n't cognize and understand him. He seems impatient for this clip to go through into action, an action that might even direct him to his decease. The writer draws our attending to the silence by adverting the bantam noises. â€Å" like a Canis familiaris ‘s death-rattle, my bosom would n't split after all and I ‘d hold gained another 20 four hours. † This line shows that the deathlike silence reflects the long hours of captivity. The silence is possibly to demo the apparently slow passing of clip. Even during the vigil, the silence is about tangible, broken merely by shortness of breaths and oinks. This apart from what Meursalt considers to be an unneeded rite besides serves to show the slow transition of clip. Although we see silence in both books, used to function the same intent, the consequence created is drastically different. Silence and the consciousness of the characters to the transition of clip have successfully created affecting minutes in the texts. They have revealed to us non merely the heads of the characters, but have besides put into perspective life and decease itself. We as readers have been drawn into the whirl of these silences and clip sections with expectancy and we have ne'er been disappointed.

What a Main Idea Is and How to Find It

What a Main Idea Is and How to Find It Questions about the main idea of a passage are popular on reading comprehension tests, but sometimes, those questions are pretty difficult to answer, especially for students who are not completely sure they understand what the main idea really is.  Finding the main idea of a paragraph or longer passage of text is one of the most important reading skills to master, along with concepts like making an inference, finding the authors purpose, or understanding vocabulary words in context. Here are a few techniques to help understand what, exactly, is a main idea and how to identify it accurately in a passage. How to Define the Main Idea The main idea of a paragraph is the primary point or concept that the author wants to communicate to the readers about the topic. Hence, in a paragraph, when the main idea is stated directly, it is expressed in what is called the topic sentence. It gives the overarching idea of what the paragraph is about and is supported by the details in subsequent sentences in the paragraph. In a multi-paragraph article, the main idea is expressed in the thesis statement, which is then supported by individual smaller points. Think of the main idea as a brief but all-encompassing summary. It covers everything the paragraph talks about in a general way, but does not include the specifics. Those details will come in later sentences or paragraphs and add nuance and context; the main idea will need those details to support its argument. For example, imagine a paper discussing the causes of World War I. One paragraph might be dedicated to the role that imperialism played in the conflict. The main idea of this paragraph might be something like: Constant competition for massive empires led to increasing tensions in Europe that eventually erupted into World War I. The rest of the paragraph might explore what those specific tensions were, who was involved, and why the countries were seeking empires, but the main idea just introduces the overarching argument of the section. When an author does not state the main idea directly,  it should still be implied, and is called an implied main idea. This requires that the reader look closely at the content- at specific words, sentences, images that are used and repeated- to deduce what the author is communicating. How to Find the Main Idea Finding the main idea is critical to understanding what you are reading. It helps the details make sense and have relevance, and provides a framework for remembering the content. Try these specific tips to pinpoint the main idea of a passage. 1) Identify the Topic Read the passage through completely, then try to identify the topic. Who or what is the paragraph about? This part is just figuring out a topic like cause of World War I or new hearing devices; dont worry yet about deciding what argument the passage is making about this topic. 2) Summarize the Passage After reading the passage thoroughly, summarize it in your own words in one sentence. Pretend you have just ten to twelve words to tell someone what the passage is about- what would you say? 3) Look at the First and Last Sentences of the Passage Authors often put the main idea in or near either the first or last sentence of the paragraph or article, so isolate those sentences to see if they make sense as the overarching theme of the passage. Be careful: sometimes the author will use words like but, however,  in contrast, nevertheless, etc. that indicate that the second sentence is actually the main idea. If you see one of these words that negate or qualify the first sentence, that is a clue that the second sentence is the main idea. 4) Look for Repetition of Ideas If you read through a paragraph and you have no idea how to summarize it because there is so much information, start looking for repeated words, phrases, or related ideas. Read this example paragraph: A new hearing device uses a magnet to hold the detachable sound-processing portion in place. Like other aids, it converts sound into vibrations, but it is unique in that it can transmit the vibrations directly to the magnet and then to the inner ear. This produces a clearer sound. The new device will not help all hearing-impaired people- only those with a hearing loss caused by infection or some other problem in the middle ear. It will probably help no more than 20 percent of all people with hearing problems. Those people who have persistent ear infections, however, should find relief and restored hearing with the new device. What does this paragraph consistently talk about? A new hearing device. What is it trying to convey? A new hearing device is now available for some, but not all, hearing-impaired people. Thats the main idea! Avoid Main Idea Mistakes Choosing a main idea from a set of answer choices is different than composing a main idea on your own. Writers of multiple choice tests  are often tricky and will give you distractor questions that sound much like the real answer. By reading the passage thoroughly, using your skills, and identifying the main idea on your own, though, you can avoid making these 3 common mistakes: selecting an answer that is too narrow in scope; selecting an answer that is too broad; or selecting an answer that is complex but contrary to the main idea.   Resources and Further Reading How to Find a Stated Main IdeaHow to Find an Implied  Main IdeaFinding the Main Idea PracticeFinding Main Ideas In Paragraphs,  http://english.glendale.cc.ca.us/topic.htmlFinding the Main Idea, Columbia College Updated by Amanda Prahl

Free Essays on The Pentacle

to say to that â€Å"BULL SHIT†. It is true that the Satanists have taken our symbol and inverted it. To me, doing so is showing disrespect to our symbol. They have also done the same to the Christians cross. So does that make the Christian cross evil, I think not. So why is it that the pentacle right side up is seen as evil? I will try to answer that and I will also explain the meaning behind the pentacle. The reason that the pentacle is seen as evil is because the world it’s self has been christianized. I’m not saying that that is a bad thing but to me personally it is. The Christians are the reason that the witches of old had to go into hiding for fear of torture and death, by hangings or but being burned at the stake. Many witches of the old days, when Christianity was starting and they where being persecuted for what they believed by the Jews, took them in and helped them to get on their feet as a religion. They mad our Gods and Goddess saints of their churches, in a way to christianize them. When that did not work the Christians turned on them and started to kill them, because they did not understand how the witches of old could believe what they did. OK that is enough of that, now let me get back to the pentacle. The Pentacle is like I said before a five-pointed start in a circle. The circle and each point of the star mean something. Depending on who you ask these meanings change a little but not a whole lot. From her I will go into the meaning of it from my beliefs and point of view. I will work my way around the star stating at the top point and go around it clock wis... Free Essays on The Pentacle Free Essays on The Pentacle The Pentacle I’m doing this paper on one of my most sacred symbols in my faith group. The pentacle for all senses of the word is a symbol that I hold very sacred. The pentacle is a five-pointed star in closed in a circle. I know that the pentacle is seen by most of society as a sign of evil, and Satanic Worship. I have two words to say to that â€Å"BULL SHIT†. It is true that the Satanists have taken our symbol and inverted it. To me, doing so is showing disrespect to our symbol. They have also done the same to the Christians cross. So does that make the Christian cross evil, I think not. So why is it that the pentacle right side up is seen as evil? I will try to answer that and I will also explain the meaning behind the pentacle. The reason that the pentacle is seen as evil is because the world it’s self has been christianized. I’m not saying that that is a bad thing but to me personally it is. The Christians are the reason that the witches of old had to go into hiding for fear of torture and death, by hangings or but being burned at the stake. Many witches of the old days, when Christianity was starting and they where being persecuted for what they believed by the Jews, took them in and helped them to get on their feet as a religion. They mad our Gods and Goddess saints of their churches, in a way to christianize them. When that did not work the Christians turned on them and started to kill them, because they did not understand how the witches of old could believe what they did. OK that is enough of that, now let me get back to the pentacle. The Pentacle is like I said before a five-pointed start in a circle. The circle and each point of the star mean something. Depending on who you ask these meanings change a little but not a whole lot. From her I will go into the meaning of it from my beliefs and point of view. I will work my way around the star stating at the top point and go around it clock wis...

Organisations, Competition and Environment - Assignment for Higher Essay

Organisations, Competition and Environment - Assignment for Higher National Diploma in Business and Management - Essay Example Recently, the Czech Republic and other Eastern European countries were admitted into the European Union. I hypothesise that the entry of the Czech Republic has significant positive effects for companies in the European Union given that tariffs between the Czech Republic and other EU countries in general and the United Kingdom in particular have been eliminated. The aim of this paper is to prepare an article for a UK company that has operations in the Czech Republic describing the effects on the company of the Czech Republic’s admission into the Union. The rest of the paper is organised as follows: Section 2 describes the European Union how the admission of the Czech Republic into the Union has affected our chosen company, Section 3 presents a syllabus of the main points to be included in the article and Section 4 is a presentation of the article as it will be published in the companies periodicals. The European Union was formally established in 1992 by the Maastricht Treaty (Palmowski, 2003). The Maastricht treaty brought together the 3 pillars including: the European Community (EC) whose decisions were governed by the European Commission, the European Council and the European Parliament and guarded by the European Court of Justice; the Common Foreign and Security Policy, which is determined on the basis of intergovernmental cooperation in the European Council alone; Justice and Home Affairs. (Palmowski, 2003). The European Union was formed as a continuation of the process to promote an economic and political Union in Europe which began with the formation of the European Community after the Second World War. (Palmowski, 2003). In addition, in the 1980s, Europe became more concern about the internationalisation and globalisation of trade and politics in which small European States could only have an influential voice if they acted in coordination with each other. (Palmowski, 2003). The

Cross-cultural Scenario Essay Example | Topics and Well Written Essays - 1250 words

Cross-cultural Scenario - Essay Example Kimuri Plc was a human resource consultancy and training firm. Such firms help other companies to develop their staff to the level of competency required in customer service, marketing and front office management. The company had been established slightly over ten years, but it had advanced and grown to the level of the most respectable forms in the region for training and resolving the human resources issues associated with different firms, through its consultancy services(Holland, 2015:36). Mark had never been such excited before, as he proceeded to open the door for the founder of such a successful company. In his mind, Mark knew that Frank Kimuri would not come to work such early, unless there was something important he wanted to discuss with him. At the back of his mind, Mark knew it had something to do with how he should run the department, having been recently interviewed and hired, after the last holder of the position had resigned a month earlier. Mark opened the office and was instantly meant by the big smile of the company founder, whom the people around the office liked to refer simply as Frank. Frank was an easy going man, and it was such easy to approach and discuss any issue with him. Thus, when the last human resource manager left the firm, basing his resignation on irreconcilable differences with the managing director, everyone had reasons to believe that the manager must have been a very difficult person. Entering the office, Frank warmly shook the hand of Mark, and proceeded to welcome him to the company saying â€Å"it is our pride to have such a young and energetic man, who is not only qualified but also ingeniously able to advance the course of our company joining us†. To this, Mark was lost for words, and could only say ‘Thank You Sir’. It is my pleasure to join your firm. You have built a very prosperous company over