Report and PowerPoint presentation about comparing between two Dining Essay

Report and PowerPoint presentation about comparing between two Dining Hall - Essay Example Others will have their dining halls centralized at one building while others prefer decentralized services. However, the ultimate objective of these plans is providing quality and affordable meals to the students. in this easy, I present my findings from an analysis of two leading universities’ dining halls in the state of Florida, the Florida University of Technology dining hall and the University of Florida dining hall. Features of the Florida University of Technology dining hall Centralization into one building The Florida University of Technology dining hall, commonly known as the Panther Dining Hall, is the sole food provider to the students in the campus. Located at the main residential building in the university, the dining hall seeks to provide the students with convince in the accessibility of food to the students. ... With its large windows that always remain open; the dining hall has a good supply of air. Additionally, students can enjoy outside weather, by choosing to eat from the outside. There are cleaners who constantly keep on mopping the floor, thus maintaining its clean nature. Quality and variety of meals Despite being the sole food provider in the university, the dining hall strives to offer the students with a variety of meals that are high quality and affordable. Professionally prepared and packaged, the students receive high standard services from the dining hall. Having a meal in the hall gives one the impression of eating from a three star restaurant. Among the popular meals available in the dining hall to the students, include pizza buffet, pasta to order, deli, dessert, home-style entree with carvery, and salad (â€Å"Florida Institute of Technology,† 2013.) Presence of bars and international drinks Within its premises, there is an international bar and grill, which serves students with different alcoholic brands. With a variety of different alcoholic beverages, most of which are drawn from different countries, the dining hall factors in the international students (â€Å"Florida Institute of Technology,† 2013.) Therefore, one does not have to leave the campus premises in order to have their drinks. Not unless the students want to for a night out in the city, the dining hall fully caters for all the drinks that students could require. This enhances their security, as they do not have to leave the school compound most of the times. Different alcoholic bars and beverage bars The dining hall also has a beverage bar, one that serves the non-alcoholic drinks to the students (â€Å"Florida Institute of Technology,† 2013). This

John Locke on Property Essay Example for Free

John Locke on Property Essay Natural reason suggests that human beings have the right to preserve themselves the moment they are born. An individual can utilize everything that he sees around him to preserve himself. He can drink if he is thirsty; he can eat if he is hungry. Nature, which God gave to the world, is the individual’s source of materials for his preservation. Locke emphasized that the world was given to the whole humanity by God. This, for Locke, is nothing but common knowledge (Locke 11). Locke questions how an individual can actually own a thing. He finds it difficult to understand why, when God has given the Earth to His children, men would search for things on earth and label it as their own. Since it is difficult to find a part of the Earth which an individual can own and call it his â€Å"property†, then the only easy way to solve this dilemma is to have the world owned by a universal monarch. This, then, would only be possible upon the belief that Adam owns the world because god gave it to him. As Adam has the world, it also means that his heirs own the world, too (Locke 11). Since this clearly is not the case in today’s world and in today’s society, Locke promises that he will explain how an individual claim a part of what God has given mankind, and that, with no single express compact of all people (Locke 11). As God has given mankind a whole world, it also means that along with this, He has given mankind a reason to use this world to their convenience and best advantage. The world are has everything that a man needs to survive. It has air, water, food and shelter. It contains that things that an individual needs to live a comfortable life. Whatever is found in this world all help in supporting the life of an individual (Locke 13). Although the food found on earth, including the animals or the predators that feed on them, are all qualified as properties of mankind (since nature produces all them), the fact alone that they are included as part of the earth means that even the predators are necessary for the survival of mankind – even when these beasts harm the quality of living of an individual. There will always be a way for a man to know how a harmful beast may help him. Whatever way this is, he has yet to figure out, but the fact remains that a harmful beast is indeed beneficial since it is a part of the world that God gave him (Locke 14). For Locke, the meat and the fruit which an individual feeds on are both considered occupants of the earth. No other individual will have the right to own that particular meat or particular fruit before it can support his life. No one has a right to something if the benefits are yet undiscovered (Ishay 116). The earth is indeed common to all the people living in it – to all its occupants. Then again, each individual has a property of his own. He is the only person who can practice his rights on that certain thing since he is the only person owning it. His hands do the working. His body does the laboring. Because of all these, whatever he produces rightfully becomes his property. Whatever thing nature has provided, which he, in turn, takes away from the state, becomes his property, as soon as he mixes his labor with it. Whatever it is that he takes away from the state which was placed there because of nature eliminates the right of other men, as long as he was able to own it through his hardships and labor (Ishay 116). Labor is indeed an important factor in this case, since labor is something that mankind cannot question. Labor is the unquestionable property of the man who is laboring. The man laboring is the only man who has the right to his products (Ishay 116). Whoever is being supported and benefited by the fruits of his labor has definitely appropriated these fruits for him. The question of Locke now, is when exactly did this fruit became his own? If, for example, an individual harvests the apple that came from the tree he himself planted, when exactly did he own the apple? Was it from the time when he digested the apple, since it is believed that as he is nourished by the fruit of his labor, he can start calling this his own? Or was it from the time when he picked the apples from the tree (Ishay 117)? What marks the difference between the common man and himself is labor. Labor defines what nature cannot. If an individual makes use of what nature has given him, and he, in turn, starts to benefit from it, then he owns the fruit. The man is able to own things as he extends what a nature can do to support his life. Here is where the concept of private right comes in (Ishay 118). Another dilemma is realized from this perspective, since will one not have a right to that apple which he appropriated for himself if mankind did not allow him to? Does he need the consent of other men to make the apple his property? Would this be considered robbery, since whatever is found on this earth is a property of all men (Boaz 123)? Then again, John Locke argued that consent from other men is not even necessary in the first place. If an individual always waits for a go-signal from other men so that he can start owning and eating an apple, then he will end up being starved. What is common in mankind, or common in â€Å"commoners†, is the act of taking something away from this world to make it his property. Nature leaves something in the state, and commoners remove it out from there. As an individual removes it from the state, it starts to be his property. Without such property, then the individual will be of no use to the world. Taking something which an individual may consider his property is not dependent on whether or not commoners will allow him to (Boaz 123). The grass is in the lands to be eaten by a horse. A servant sees a turf which he may cut. All people can see ores, and all of them have right to the meat. An individual can do everything that he can, and thus exhibit acts of labor, to produce something that can benefit him. As a product of his labor, his prize is to own it as its property. He does not need to consult other men; more so, need their consent. The moment an individual removes something from the state is already a manifestation of a labor being enacted. There is a struggle, a difficulty, and an action taking place as an individual takes something away from the state. From this point exactly, an individual owns a thing (Boaz 123). John Locke’s main argument when he said that property is prior to the political state; he was referring to the law of reason. This law is what makes the deer a proper of an Indian, only if this Indian went his way into killing the deer. Once he exerted effort and enacted labor into killing the deer, then he has every right to eat the deer. The deer used to be a property of the world, and of everyone. Killing it is also a right of every person. Then again, whoever has the reason to go first and bestow his energy, labor and power to kill the deer, is the same person who owns the meat. Reason is what defines a person’s property, according to John Locke. Whatever it is that is found in this earth is a property of everyone, and everyone has the right to owning it. Then, again, labor, when fueled with reason, is what makes and what allows a person to own something and start calling it his property (Boaz 124). For John Locke, it is effortless to imagine and think how labor can start and prescribe a person’s property, considering the fact and the supposed challenge that may be faced since this property used to be a property of all mankind, and this property of mankind is coming from nature – the nature itself being an entity that belongs to everyone. The limits of a property are defined by how we spend it. For John Locke, arguments and conflicts regarding property and owndership may be eliminated if we see things his way (Boaz 125). Through John Locke’s view in property, he suggests that convenience and right go along together. He has his right which is his reason enough to employ his labor on a property common to mankind. Once he goes through challenges to own it to his convenience, then there should be no room left for conflict and quarrel. Whoever went his way to experience challenges just to reap what he saw, has every right to own the fruits of his labor (Boaz 126). Works Cited Boaz, David. The Libertarian Reader: Classic and Contemporary Readings from Lao-tzu to Milton Friedman. Free Press, 1998. Ishay, Micheline. The Human Rights Reader: Major Political Essays, Speeches, and Documents from Ancient Times to the Present. CRC Press, 2007. Locke, John. Two Treatises of Government. Kessinger Publishing, 2004.

What is reading :: Word Recognition, Reading Comprehension

What is reading? At a very tender age, when I first learned to read words, I was excited because I was now a reader but was I really reading or just lifting words off paper? Even though this is necessary for reading, reading is more complex than just recognizing words. The reader has to make sense of the words base and their context. While engaged in reading, the prior knowledge is activated along with personal connection, ideas, and opinions. Unfortunately, children will develop reading problems if they do get the necessary stills that will allow them to function on a higher level and succeed in life. Jennings, Caldwell and Lerner (2010) mentioned that it is said that â€Å"Children must learn to read so that later they can read to learn† (pg. 4). Therefore reading is the foundation that children need to be successful in life. Jennings, Caldwell and Lerner (2010) advised that to help children read better and develop a love for reading, fall on the laps of the teaching professionals since they are the planner and implementation of instructional services (pg. 3). It is understandable that even though there are different levels of readers, the ultimate goal is for teachers to create good readers in children. Jennings, Caldwell and Lerner (2010) iterate that reading is making sense of text. The reader generates his or her own mental version of what is been read (pg. 13). In my field experience, I have seen children who could read any word off paper but had no opinion of what is going on in the story. I have also experienced teachers getting frustrated when their students are not able to decipher or decode words in context or make connection to text. Jennings, Caldwell and Lerner (2010) talked about the three elements of reading. There is the reader, the reading material and the reading situation. The r eader brain is super active while making sense of the material and creating a version that will fit into the reader scheme (pg. 13). As I think back on Jennings, Caldwell and Lerner’s observation, I can remember reading about a Niagara Falls at a young age in Jamaica, West Indies and not knowing what Niagara Falls looks like, I construction in my mind that it looked like Dunn’s River fall in Jamaica. Years later I realized Dunn’s River Fall cannot be compare to Niagara Falls.

The Role of the Prosecutor Essays -- Law Legal

The Role of the Prosecutor All serious criminal cases require the participation of three individuals: the judge, counsel for the prosecution, and counsel for the accused. If any one of these are absent from the procedure, "the criminal justice system is incomplete" (Congress). The prosecutor stands at a critical stage in the criminal justice system as well as playing a critical role before, during and after the trial. They serve many functions throughout the criminal process. Some of which are investigating, plead bargains, questioning both jurors and witnesses, and being involved through the sentencing as well. The first thing that must be understood is that the duty of the prosecutor is to seek justice, not merely to convict. It is crucial that his obligation is to protect the innocent as well as to convict the guilty, to guard the rights of the accused as well as to enforce the rights of the public. The prosecutor should have the most knowledge of the work of the police in the investigation of crimes and in the enforcement of law. The prosecutor has tremendous amount of desecration as to what charges will be brought against an accused person or whether to even dismiss charges based on lack of evidence. Since his decisions account for a large share of cases that are taken into the courts, "the character, quality and efficiency of the whole system is shaped in great measure by the manner in which he exercises his broad discretionary powers" (Britani...

Brighton Rock by Graham Greene

In 1947 Donat O’Donnell wrote that â€Å"far more than the left-wing militancy of such poets as Auden and Spender†¦ the thrillers of Mr. Greene reflect the state of the West European mind in the thirties. † (25). For O'Donnell, Greene is â€Å"the most truly characteristic writer of the ‘thirties ir England, and the leading novelist of that time and place† (28). What Greene draws attention to in his novels from the period is, as McEwen notes, the condition of violence and savagery repressed beneath a seeming peace.Greene’s work such as Brighton Rock used the apparatus of the thriller to expose and investigate contemporary social problems; these novels are vehicles for social commentary particularly in the implicit equation they make between the violence and cruelty of their protagonists, Raven and Pinkie, and the background of poverty against which they are presented. This paper analyses Brighton Rock through a prism of narrative theory. In addi tion some socio-philosophical implications are discussed.Analysis In Brighton Rock Pinkie's gang murders Hale but only after he has made the acquaintance of Ida Arnold, a fun-loving pragmatist who repeatedly insists on her knowledge of the difference between right and wrong. Responding to an irrational compulsion—she calls herself a â€Å"sticker where right's concerned† (16)—she investigates Hale's death, seeking to bring Pinkie to justice and to save Rose the suffering that Pinkie will inflict upon her.Like Mather, Ida, despite fulfilling the role of the detective, is mocked by the narrative: her inability to see beneath the surface of things severely limits her understanding of the case and of the world she inhabits. Brighton for her is a place of fun and excitement, and life is always â€Å"good† (19, 72): â€Å"I always say it's fun to be alive† (17). The dark side, both of life and of the city with its beggars and its crime, is completely ali en to her (73):Death shocked her, life was so important. She wasn't religious. She didn't believe in heaven or hell, only in ghosts, ouija boards, tables which rapped . . . but to her death was the end of everything. . . . Life was sunlight on brass bedposts, Ruby port, the leap of the heart when the outsider you have backed passes the post and the colours go bobbing up. Life was poor Fred's mouth pressed down on hers in the taxi, vibrating with the engine along the parade. . .. she took life with deadly seriousness: she was prepared to cause any amount of unhappiness to anyone in order to defend the only thing she believed in. (36) Both her naive optimism, which has â€Å"something dangerous and remorseless† (36) in it, and her spiritual blindness prevent her from understanding Pinkie and Rose and account for the ironic tone that dominates many of the descriptions of Ida: Ida Arnold was on the right side. She was cheery, she was healthy, she could get a bit lit with the best of them.She liked a good time, her big breasts bore their carnality frankly down the Old Steyne, but you had only to look at her to know that you could rely on her. She wouldn't tell tales to your wife, she wouldn't remind you next morning of what you wanted to forget, she was honest, she was kindly, she belonged to the great middle law-abiding class, her amusements were their amusements, her superstitions their superstitions (the planchette scratching the French polish on the occasional table, and salt over the shoulder), she had no more love for anyone than they had. (80)This kind of mockery has led numerous critics to denigrate Ida for her lack of spiritual awareness (she boasts to Rose that â€Å"It's the world we got to deal with† [198]) and to elevate Pinkie to tragic stature because he professes a belief in a divine order (â€Å"it's the only thing that fits† [52], he says) wherein the crucial difference is not between right and wrong but between Good and Evil. In that Rose shares Pinkie's knowledge, she and Pinkie are presented both in the text and in critical discussions as morally superior to Ida and other characters like her such as Dallow, Cubitt, Colleoni, and Phil Corkery.The point is made particularly clear in comments made by Rose to Pinkie and in exchanges between Ida and Rose: â€Å"I only came here for your sake. I wouldn't have troubled to see you first, only I don't want to let the Innocent suffer†Ã¢â‚¬â€the aphorism came clicking out like a ticket from a slot machine. â€Å"Why, won't you lift a finger to stop him killing you? † â€Å"He wouldn't do me any harm. † â€Å"You're young. You don't know things like I do. † â€Å"There's things you don't know. † she brooded darkly by the bed while the woman argued on: a God wept in a garden and cried out upon a cross; Molly Carthew went to everlasting fire.â€Å"I know one thing you don't. I know the difference between Right and Wrong. They di dn't teach you that at school. † Rose didn't answer; the woman was quite right; the two words meant nothing to her. Their taste was extinguished by stronger foods—Good and Evil. The woman could tell her nothing she didn't know about these—she knew by tests as clear as mathematics that Pinkie was evil—what did it matter in that case whether he was right or wrong? (198) As is illustrated here, the narrative frequently contrasts two distinct views of the world—the secular outlook of Ida and others and the religious perception of Rose and Pinkie.From a social perspective there is no escaping the fact that Pinkie's evil makes him a criminal. However, as with Raven, Pinkie's guilt is mitigated by a background of poverty (â€Å"Man is made by the places in which he lives,† the text tells us [37]) and by the presence of Colleoni, a self-described â€Å"business man† (64), who, though the leader of a vast criminal organization, is also well reg arded by the Brighton police and by the Conservative party which seeks to persuade him into politics (159).As for Ida, whatever her shortcomings, she succeeds in her task of ridding society of Pinkie's menace, although the conditions that produced Pinkie, the source of the evil, remain. On one level, then, Ida is the instrument of law and order who brings about the socially desirable end, the social good, that Rose, representative of a religious or spiritual Good, cannot. Ida is, in this respect, a figure of the law defending a secular middle-class vision of society that relies on human justice which, as we have noted, Greene sees as both limited and limiting.On the other hand, criticism of Ida often seems to have at its root a prejudice against the detective story because it is a popular form of literature. Ida, herself, is strongly tied to popular culture, and in many respects she represents a populist spirit. The text tells us that â€Å"She was of the people, she cried in cinem as at David Copperfield, when she was drunk all the old ballads her mother had known came easily to her lips, her homely heart was touched by the word ‘tragedy'† (32). Similarly, her bed-sitting room contains the trappings of popular culture and an assortment of popular literature:pieces of china bought at the seaside, a photograph of Tom, an Edgar Wallace, a Netta Syrett from a second-hand stall, some sheets of music, The Good Companions, her mother's picture, more china, a few jointed animals made of wood and elastic, trinkets given her by this, that and the other, Sorrell and Son, the Board. (42) In one sense then, her success represents the triumph, albeit limited, of the popular. However, for critics like R. W. B. Lewis, Ida's â€Å"popular heart† (34) and her role as the investigating detective underpin the condemnation of her character and the neglect of her function in the book.In Lewis's eyes, the Ida Arnold plot threatens Brighton with the disaster of be ing two different books under the same cover (244): â€Å"The entertainment is Ida's; it begins with the first sentence . . . The tragedy is Pinkie's; it begins more subtly in the atmosphere of place† (243). As these remarks imply, not to condemn Ida is to elevate in their importance the book's detective-story aspects-something Lewis cannot and will not do. We can see in Brighton Rock how the detective story complements and underscores the narrative of Pinkie's religious struggle.To be fair, however, Lewis does recognize the interdependence of the two stories, despite his perception of â€Å"generic confusion† in the novel (239) the relation between the detective story and the tragedy expresses exactly what Brighton Hock is finally all about. It is a relation between modes of narrative discourse that reflects a relation between two kinds or levels of reality: a relation between incompatible worlds; between the moral world of right and wrong, to which Ida constantly and confidently appeals, and the theological world of good and evil inhabited by Pinkie and Rose.(244) However, we might add to these remarks that the relation between the two modes of narrative discourse can also be read as an inscription of the relationship between popular discourse and serious discourse. In the pure classical detective story that Todorov describes, the story of the crime becomes present in the text only through the story of the investigation; that is, the crime takes place outside the frame of the narrative and all its details are revealed only in the course of the investigation.The events leading to the crime make up a story that is seen only through its periodic intrusion by means of clues, or ciphers, into the story of the investigation which we read: we find out about the one story in the telling of the other. As Todorov figures it, this pattern reveals the two aspects that the Russian formalists identify as part of any story—fabula and sjuzhet—whe re the fabula is revealed only through the sjuzhet while yet providing the sjuzhet with the material of its own existence.However, as we have noted, to determine which of these two precedes the other is a task fraught with ambiguity, and this ambiguity is reflected in Brighton Rock's departures from the paradigm of the classical detective story. This ambiguity emerges in the novel's handling of the mechanics of the classical detective story's structure: Ida explicitly begins her pursuit at the place from which Hale disappeared (81) and then works to reconstruct the crime which, as even Pinkie realizes (86), is the standard investigative process.In a general sense, Ida traces over the previously laid path of Pinkie and his gang—an activity that is consistent with the structural dynamics of the classical detective story plot—and so figures the actions of the sjuzhet (the discourse) upon the material of the fabula (the story). As well, her retracing figures the act of wri ting that produces narrative as a rewriting of a prior narrative which is repressed in the later narrative although its existence is revealed in the later narrative—the narrative of the investigation—through the presence of clues which are the tangible signs marking the return of the repressed.However, in Brighton Rock Ida's pursuit of Pinkie intensifies the story of Pinkie's efforts to avoid capture. As Ida proceeds in her reading or events—explicitly linked to her reading of an occult text (â€Å"Fresuicilleye†)—she uncovers indications of Pinkie's story marked in the narrative's details, which in more orthodox detective fiction are formalized as clues: things such as Hale's dislike of Bass beer and his confession that he was â€Å"going to die† (18) arouse Ida's â€Å"instincts† so that she senses that â€Å"there is something odd† about Hale's death (31).Late; details that come out after his death, such as the fact that he used a false name (31), had bruises on his arms (79), and left a restaurant without eating despite telling Ida he was hungry (33), confirm Ida's suspicions that something is puzzling about the death while, at the same time, they reveal details of Pinkie's story. As the novel progresses, it becomes clear that Ida's investigation of Hale's death forces Pinkie's actions.Since the official investigators agree that Hale died of natural causes, they have closed the case (78-80), which means that it is only Ida whom Pinkie has to fear. In an odd way, then, Ida's search originates, explains, and validates all of Pinkie's actions from his courtship of Rose to his murder of Spicer to his attempt to arrange Rose's suicide: as Dallow accuses Ida late in the novel, â€Å"this is your doing. You made him marry her, you made him . . . † (236).To be sure, Pinkie fears that the police may ask questions about the man who left the card at Snow's, but, as we realize, they do not and will not reo pen their inquiry. In their place, though, is Ida. In this sense, the detective story plot determines the course of Pinkie's story; although, conversely, it is Pinkie's story that gives rise to the detective narrative. The two lines of action are entangled in each other with each standing as the origin of the other.Indeed, the question of origin is complicated further by the fact that the disturbance that excites the narrative of Brighton Rock into being—the murder of Hale—is considered an act of revenge: the initial action occurs in response to an earlier action—the murder of Kite—the story of which, though sporadically erupting into Pinkie's story (63, 218-19), lies in another narrative, another text; as the text explicitly remarks, â€Å"The whole origin of the thing was lost† (217).As a model of narrative mechanics, then, Brighton Rock, figures narrative's ability to perpetuate itself by inscribing within itself two separate narrative strands t hat generate and then feed on each other. Since Pinkie's story—the story of the crime—sparks Ida's story into life and since her investigation determines the content of Pinkie's story, each story can be seen as the origin of the other as each lies behind the other. Ida's investigation uncovers the contents of Pinkie's story, but his narrative also becomes the means by which Ida's story is discovered.To illustrate with just one example of how this works one can look at part 4, section 1 (99-120), where Pinkie and Spicer are at the race track. Although the storyline in the foreground involves Pinkie's betrayal of Spicer to Colleoni's men, one glimpses the other narrative line involving Ida. Spicer tells Pinkie about a woman who â€Å"backed Black Boy for a pony† (103). One then finds out that Black Boy won the race, and again Spicer mentions the woman who now has won so much money (104); the narrative goes on to report that Pinkie â€Å"heard a laugh, a female la ugh† which is attributed to the same woman (104-105).She is, of course, Ida, who bets on Hale's tip and so wins enough money to persist in the investigation. In this example one sees how the story of detection is revealed in the telling of Pinkie's story. Another way for us to see the relationship between the two narratives of Ida and Pinkie, of investigation and crime, is to think of either narrative strand as the repressed content of the other: each reveals its presence in intermittent clues that surface into the respective narrative.However, whichever way one chooses to view Brighton Rock again depends on one's point of view, but ultimately one is looking at the same thing. Greene reflects the indeterminate nature of narrative origins in his handling of the classical detective story's structure. As Brighton Rock stands, the story of the detection is interrupted by the story of the criminal, which reveals details of the crime; the two stories are presented in roughly alterna ting chapters occurring more or less along a shared timeline.The reader, then, gains knowledge of the circumstances of Hale's death from two sources, the chapters dealing with Ida and the chapters dealing with Pinkie. The two stories of the investigation and the crime become blurred in the novel as each begins to include the other. As if to underscore this blending of narrative, it is notable that the novel's first scene places Pinkie, Ida and Hale in the same room: murderer, detective, and victim have their stories begin at the same time in the same place. The novel figures, then, the indeterminate nature of narrative origin from its outset.Because Ida's investigation of events, metaphorically figured in her reading of an occult text, both reveals and determines the text she reads, we also see in Brighton Rock how the perceiving subject effects what it perceives, and in terms of reading the implications of this action are complex. On one level, reading a text actualizes that text f or the reader by inscribing it in the reader's consciousness where it previously did not exist. At the same time, the reader sees in the text what he or she is, in a sense, programmed to see through his or her experience of the â€Å"already-read†.This phenomenon lies behind the differing judgments on Brighton Rock: probable or improbable plot, proletarian novel or moral allegory, detective story or religious drama, light fiction or serious literature, entertainment or tragedy, and so on. However it is seen, the novel is the product of an interpretive act. Brighton Rock shows us both how these differences are generated and how they coexist within the textual field of the novel. The question of how texts are read is one of the issues at the heart of Brighton Rock.Perhaps more than in other detective stories, Brighton Rock foregrounds the reading process as a concern from the first page when we find Hale as Kolley Kibber following a route (itself prescribed by a text) through B righton in search of someone with a copy of The Daily Messenger in hand who can repeat a prepared text: â€Å"You are Mr. Kolley Kibber. I claim the Daily Messenger prize† (5). Language is, thus, explicitly figured as a code. The text stresses that the claim must be made â€Å"in the proper form of words† (5), and hence the possibility of arriving at a correct, univocal reading of a text, of fully understanding the code, is implied.However, since the challenge Hale receives ultimately results in his death, we see figured in Brighton Rock the inadequacy of such a simple method of reading. This possibility is confirmed in the larger investigation of reading that is enacted in the novel. As the detective, Ida is the reader of the fictions that Pinkie creates to explain Hale's, Spicer's, and, though it does not occur, Rose's deaths. In producing these fictions, Pinkie uses tangible signs, which are meant to mislead their reader. The cards he has Spicer lay along Hale's rou te are meant to stand as the visible traces of Hale's presence, as Hale's signature.Similarly, in preparing the story of Rose's suicide, Pinkie uses a note that Rose herself has written and insists that she â€Å"add a piece† to explain her death (231); for Rose, this involves â€Å"signing away more than her life† (227) because in committing suicide she commits a mortal sin which will, according to her belief, damn her. But in both instances, and particularly in the latter, the creation of a fiction is explicitly tied to the production of a written text, and in this way the act of detection that involves the reading of Pinkie's texts mirrors the activity of Greene's reader and of reading in general.Conclusion If Brighton Rock demonstrates the limitations of reading, it also insists upon the necessity of reading. Just as Chesterton described every detail within the urban landscape as a sign to be read by the detective in his or her search for truth, so is every detail within a detective story of potential significance to the reader's interpretation of the narrative. In Brighton Rock the experience of the world is figured in terms of reading; the world of Brighton is explicitly a world of text.Rose's father's face is â€Å"marked deeply with the hieroglyphics of pain and patience and suspicion† (142); â€Å"the edge of the sea is like a line of writing in whitewash: big sprawling letters† (152); and Ida, herself, is likened by the narrative to an enigmatic text that insists it be read: â€Å"she stood there like a wall at the end of an alley scrawled with the obscene chalk messages of an enemy† (196). In this context, reading becomes an unavoidable activity linked to power; those best able to read or even to offer convincing and authoritative readings are those who exercise power in this world.Both Ida and the police are confident in their interpretations of clues and events. The police, assigned the task of interpreting evide nce in order to determine whether or not a crime has been committed, produce their own reading of Hale's death. Their report presents a univocal interpretation of the details of the death and so preserves their power because in their eyes and in the eyes of the society the case is solved.The closing of the case thus maintains an impression of efficiency, which, in turn, justifies the authority conferred upon the police. As Edwin Muir wrote of Pinkie in a review of Brighton Rock, â€Å"he is an evil product of an evil environment, a living criticism of society, and on that plane genuine† (76). Muir's remarks could just as easily apply to Raven, who is said to be â€Å"made by hatred† (66). Indeed, because one of his obsessive boasts is â€Å"I'm educated† (15, 46), the social system that shapes Raven is severely criticized.In Brighton Rock there are hints of a repressed desire for goodness and peace in Pinkie that are seen in his emotional reactions to music, his recollection of his days in the church choir and his desire to be a priest, his faint stirring of tenderness for Rose and pity for Prewitt, and his sense of an â€Å"enormous emotion beating on him . . . the pressure of gigantic wings against the glass† as he drives Rose to what he assumes will be her death (242)—all of which indicate that Pinkie's evil arises out of the corruption of his innocence.In his case, the crippling effects of his environment destroy a natural tendency to goodness. The three â€Å"entertainments† that follow Brighton Rock, while not abandoning the social critique of the books from the thirties, become more obvious than Greene's text was in the interrogations of the thriller form and of the structures of authority—whether political, literary or textual—that exist within society. Bibliography Greene, Graham. Brighton Rock. 1938. Harmondsworth: Penguin, 1988._____________. Our Man in Havana. 1958. Harmondsworth: Penguin, 197 7. Lewis, R. W. B. â€Å"Graham Greene: The Religious Affair. † The Picaresque Saint: Representative Figures in Contemporary Fiction. Philadelphia and New York: Lipponcott, 1959. 220-74. McEwen, Neil. Graham Greene. Macmillan Modern Novelists. London: Macmillan, 1988. O'Donnell, Donat. â€Å"Graham Greene. † Chimera 5. 4 (Summer 1947): 18-30. Todorov, Tzvetan. The Poetics of Prose. 1971. Trans. Richard Howard. Ithaca: Cornell UP, 1977.

Infinity Essays - Cardinal Numbers, Infinity, Mathematical Objects

Infinity Essays - Cardinal Numbers, Infinity, Mathematical Objects Infinity Most everyone is familiar with the infinity symbol, the one that looks like the number eight tipped over on its side. Infinity sometimes crops up in everyday speech as a superlative form of the word many. But how many is infinitely many? How big is infinity? Does infinity really exist? You can't count to infinity. Yet we are comfortable with the idea that there are infinitely many numbers to count with; no matter how big a number you might come up with, someone else can come up with a bigger one; that number plus one, plus two, times two, and many others. There simply is no biggest number. You can prove this with a simple proof by contradiction. Proof: Assume there is a largest number, n. Consider n+1. n+1*n. Therefore the statement is false and its contradiction, there is no largest integer, is true. This theorem is valid based on the Validity of Proof by Contradiction. In 1895, a German mathematician by the name of Georg Cantor introduced a way to describe infinity using number sets. The number of elements in a set is called its cardinality. For example, the cardinality of the set 3, 8, 12, 4} is 4. This set is finite because it is possible to count all of the elements in it. Normally, cardinality has been detected by counting the number of elements in the set, but Cantor took this a step farther. Because it is impossible to count the number of elements in an infinite set, Cantor said that an infinite set has No elements; By this definition of No, No+1=No. He said that a set like this is countable infinite, which means that you can put it into a 1-1 correspondence. A 1-1 correspondence can be seen in sets that have the same cardinality. For example, 1, 3, 5, 7, 9}has a 1-1 correspondence with 2, 4, 6, 8, 10}. Sets such as these are countable finite, which means that it is possible to count the elements in the set. Cantor took the idea of 1-1 correspondence a step farther, though. He said that there is a 1-1 correspondence between the set of positive integers and the set of positive even integers. E.g. 1, 2, 3, 4, 5, 6, ...n ...} has a 1-1 correspondence with 2, 4, 6, 8, 10, 12, ...2n ...}. This concept seems a little off at first, but if you think about it, it makes sense. You can add 1 to any integer to obtain the next one, and you can also add 2 to any even integer to obtain the next even integer, thus they will go on infinitely with a 1-1 correspondence. Certain infinite sets are not 1-1, though. Canter determined that the set of real numbers is uncountable, and they therefore can not be put into a 1-1 correspondence with the set of positive integers. To prove this, you use indirect reasoning. Proof: Suppose there were a set of real numbers that looks like as follows 1st 4.674433548... 2nd 5.000000000... 3rd 723.655884543... 4th 3.547815886... 5th 17.08376433... 6th 0.00000023... and so on, were each decimal is thought of as an infinite decimal. Show that there is a real number r that is not on the list. Let r be any number whose 1st decimal place is different from the first decimal place in the first number, whose 2nd decimal place is different from the 2nd decimal place in the 2nd number, and so on. One such number is r=0.5214211... Since r is a real number that differs from every number on the list, the list does not contain all real numbers. Since this argument can be used with any list of real numbers, no list can include all of the reals. Therefore, the set of all real numbers is infinite, but this is a different infinity from No. The letter c is used to represent the cardinality of the reals. C is larger than No. Infinity is a very controversial topic in mathematics. Several arguments were made by a man named Zeno, a Greek mathematician who lived about 2300 years ago. Much of Cantors work tries to disprove his theories. Zeno said, There is no motion because that which moved must arrive at the middle of its course before it arrives at the end.

One Art Essays

One Art Essays One Art Paper One Art Paper Essay Topic: Poetry The art of losing isnt hard to master; so many things seem filled with the intent to be lost that their loss is no disaster, Lose something every day. Accept the fluster of lost door keys, the hour badly spent. The art of losing isnt hard to master. Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. None of these will bring disaster. I lost my mothers watch. And look! my last, or next-to-last, of three beloved houses went. The art of losing isnt hard to master. I lost two cities, lovely ones. And, vaster, some realms I owned, two rivers, a continent. I miss them, but it wasnt a disaster. Even losing you (the joking voice, a gesture I love) I shant have lied. Its evident the art of losings not too hard to master though it may look like (Write it!) a disaster. Why I chose it She explains a major problem well in this poem. We have so many losses in life and we have to learn how to forget some of them otherwise life will overwhelm us. Only if we do this, we will learn how to deal with the big losses in life and the pain that comes with them. Elizabeth Bishop is trying to teach this important lesson to the reader and she does this by creating a poem with an interesting structure. She increases the amount that is lost after each stanza so the reader can understand how forgetting small losses can help them get over bigger losses. She uses a rhyme scheme of ABA in each of her 3 line stanzas and each middle line of the stanzas rhyme with each other middle line of the other stanzas e.g went, continent, intent. With this, the poem flows nicely which helps the reader understand it. Also I was curious on the poem because of the title. After reading it I questioned how loss can be named an art. Bishop explains this clearly in her poem. Commentary Elizabeth Bishops poem, One Art, is a poem overflowing with irony which uses the structure and expressions to evoke the emotion of loss which Bishop is trying to convey to the reader. She seems to have lost many things in her life and has written this poem for the sole purpose to reassure the reader that if they find control within themselves, they are able to accept the many losses that are in their lives. Loss is something that cannot be mastered, emotion is always attached to loss. But Bishop is trying to tell the reader that with each loss, you endure it more and will ultimately learn to control the feeling, with less pain. The speaker in this poem seems to be Bishop dealing with her inner emotions of loss, trying to master loss so she does not have to deal with the painful emotions afterwards. This is ironic at the very concept of mastering loss, as loss is not a feeling that can be mastered. The structure of the poem is a villanelle as there are five stanzas of three lines followed by a stanza of four lines. Bishop seems to have utilised this structure to increase the readers attention and respect for loss as each stanza progresses. The tone of this poem is recognized by the reader from reading the first line. The poem deals with loss which is associated with death. A poem dealing with this theme will most certainly have a negative tone, and One Art is no exception. The tone changes with each stanza, gaining in sadness as the poem continues. This is because the value of what is lost increases within each stanza. This tone helps the reader emphasise on the value of loss. Bishop uses repetition often and refrains the line The art of losing isnt hard to master which is done to stress on the importance of the title. Also the readers sense of the subject is gained by each repetition as the theme of the poem is emphasised after each stanza. Each refrain builds up stronger amounts of loss. The second stanza is based on the loss of door keys or wasting time. The poet personifies these lost objects, saying that they seem filled with the intent to be lost. This is showing that these objects want to be lost and by giving inanimate objects feelings, it conveys that these objects are not of great importance. These are basically simple losses that one can learn to forget, but as the poem progresses, the amount that is lost builds up, including personal things with much more importance. This point can be proven in the third stanza, where she says Then practice losing farther, losing faster: This is the point in the poem, where she begins to name things that can be lost with much greater importance. Following the third stanza, the next one involves things of personal importance to a person. my mothers watchthree beloved houses. These things are more personal as a home is one which symbolises love and protection, which is a contrast to the insignificant loss of keys. In the fifth stanza, she describes the loss of things with huge importance, two rivers, a continent. Bishop continues the patter of possessions increasing in importance, by describing things which affect thousands of people. She seems to have reached things of the highest importance but finally in the last stanza, it all leads up to the most painful loss, the loss of a lover. After the fifth stanza, she uses a dash to start the last stanza. This is done to show that she is finished describing the loss of material objects, and is moving on to the loss of something with the most importance. Its evident the art of losings not too hard to master though it may look like (Write it!) a disaster. This entire stanza flows together due to the quicker pace and full use of enjambment throughout the entire stanza. The reader was use to the punctuation increasing and pace slowing down each stanza from the first to the fifth, so this increased the impact of pace on the last stanza, making it more powerful. Parenthesis was effectively used to show how hard and painful it was for the writer to write down her emotions into words, (Write it!). Bishop is trying to teach the reader to endure the many small losses, in order to feel less pain in the loss of something with much importance. By breaking away from describing the loss of an inanimate material objects towards a living person, she amplifies the feeling of loss which conveys the message of the poem clearly to the reader. With each stanza, we further understand the emotions which Bishop is trying to convey to us. She uses the title to imply how dealing with a loss is an art in its own accord. An art is something of beauty that requires massive amounts of effort to accomplish. The use of punctuation is another distinct feature of the structure of this poem, with each stanza, the amount of punctuation increases up until the fifth stanza. Bishop increases the value of what was being lost, along with this, the punctuation increases as well. This was done to slow down the pace of the poem so that the reader understands the importance of each possession. When describing each thing that was being lost in the fourth, two cities, lovely ones.two rivers, a continent. Along with the commas, caesura was used as well in the first line to slow down the pace. By forcing the reader to stop in the middle of the line, it takes them by surprise as it was sudden, not done in the poem before. This stanza contrasts with the quicker pace of the first stanza as there was only one semi-colon and comma used. This is clear evidence of the punctuation used by Bishop which greatly emphasises what Bishop was trying to achieve with this poem. This poem was written to show the readers the comparison of loss between different things. This poem may seem simple, but is very deep mainly through the way the poet utilised the structure and the richness in irony. This can be seen by how she refrains the use of loss isnt hard to master. This changes in the last line to loss isnt too hard to master This might show how it is getting harder for the poet to overcome the loss of a loved one. Bishop proves that the loss of trivial things and mastering this loss, will not be able to prepare you for the loss of something beloved by you, which further increases the ironic nature of the poem. In the end she could be all alone, hence the title One Art. She believed that if she could detach herself from pain and forget these feelings, she can begin a new life and grow, but realises that it is too hard for her.